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- Herausgeber: e-artnow
- Kategorie: Gesellschafts- und Liebesromane
- Sprache: Englisch
- Veröffentlichungsjahr: 2013
This carefully crafted ebook: "The Drawings and Engravings of William Blake (Fully Illustrated)" is formatted for your eReader with a functional and detailed table of contents. This book collects the some of the best of William Blake's unique and evocative artwork. William Blake (1757 – 1827) was an English poet, painter, engraver; one of the earliest and greatest figures of Romanticism. His work was filled with religious visions rather than with subjects from everyday life. Blake's fame as an artist and engraver rests largely on a set of 21 copperplate etchings to illustrate the Book of Job in the Old Testament. However, he did much work for which other artists and engravers got the credit. Blake was a poor businessman, and he preferred to work on subjects of his own choice rather than on those that publishers assigned him. Blake is acclaimed one of England's great figures of art and literature and one of the most inspired and original painters of his time.
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The Drawings and Engravings of William Blake
(Fully Illustrated)
Table of Contents
List of Illustrations
The Penance of Jane Shore. (About 1778). Tinted drawing, varnished
The Breach in a City. (1784). Indian-ink, with slight colour
Youth learning from Age. Indian-ink and water-colours.
Har and Heva bathing, Mnetha behind. Design for Tiriel. Indian-ink
Har and Tiriel, Heva and Mnetha. Design for Tiriel. Indian-ink
The Blossom, from Songs of Innocence. (1789). Coloured print
The Divine Image, from Songs of Innocence. (1789). Coloured print
The Bard, from Gray. Tempera.
The Agony in the Garden. Tempera.
Title-page of Thel. (1789). Coloured print of the design without the title
Page 4 of Thel. Lightly tinted
Page 4 of Thel. (1789). Coloured print without text
The Flight into Egypt. (1790). Tempera.
The Nativity. Tempera
Bathsheba. Tempera.
Job’s Complaint. (About 1792). Indian-ink.
Two Engravings for The Gates of Paradise. (1793).
Two Engravings for The Gates of Paradise. (1793).
Visions of the Daughters of Albion. (1793). The Argument. Coloured print.
Page 7 of America. (1793). Uncoloured.
Page ii of America. (1793). Uncoloured.
Youth carrying a Cherub. Frontispiece to Songs of Experience. (1794). Coloured print.
Hear the Voice of the Bard! Introduction to Songs of Experience. (1794). Coloured print.
Page 2 of Urizen. (1794). Coloured print (without text)
Page 7 of Urizen. Coloured print (without text).
Page 8 of Urizen. Coloured print.
Page 19 of Urizen (Los, Enitharmon and Ore). Coloured print
Page 20 of Urizen. Coloured print.
Page 26 of Urizen (The Nets of Urizen). Coloured print
The Ancient of Days. Frontispiece to Europe. (1794). Coloured print
The House of Death; The Lazar-House of Milton. (1795). Colour-printed drawing.
Hecate. Colour-printed drawing
Oberon and Titania resting on Lilies. Page 5 of The Song of Los
Glad Day. Coloured print
Unknown Subject. Coloured print.
Pity, from Macbeth. Colour-printed drawing.
The Elohim creating Adam. (1795). Colour-printed drawing
Satan exulting over Eve. (1795). Colour-printed drawing
Oberon and Titania. Water-colours.
The Sacrifice of Isaac. Tempera
Christ interceding for the Magdalen. Tempera.
Elijah in the Chariot of Fire. (1795). Colour-printed drawing
Job confessing his Presumption to God. Water-colours
The Crucifixion. (1801). Water-colours.
The Entombment. Water-colours.
The Stoning of Achan. Water-colours.
The Eagle and the Child. (1802). Indian-ink drawing for illustration to Hayley’s Ballad.
The Death of the Virgin. Water-colours.
The Death of Saint Joseph. Water-colours.
The Rainbow over the Flood. Indian-ink.
The Three Maries at the Sepulchre. (1803). Water-colours
Nelson guiding Leviathan. Tempera.
Mary Magdalen washing the Feet of Jesus. Water-colours
Ruth and Naomi. Water-colours.
David delivered out of Many Waters. Water-colours
Page 4 of Milton. (1804). Coloured print.
Page 36 of Milton. (1804). Blake’s Cottage at Felpham. Coloured print
Page 38 of Milton. (1804). Coloured print.
Design on page 8 of Jerusalem. (Begun 1804). Uncoloured
Design on page 28 of Jerusalem. Uncoloured.
Page 31 of Jerusalem. Uncoloured
Page 35 of Jerusalem. Uncoloured.
Design on page 41 of Jerusalem. Uncoloured.
Page 70 of Jerusalem. Uncoloured.
Page 76 of Jerusalem. Uncoloured.
The River of Life. Water-colours.
Fire. Water-colours
Famine. (1805). Water-colours
Dedication to the Queen, for Blair’s Grave. (1806). Pencil and tint (not engraved).
Satan watching the Endearments of Adam and Eve (Paradise Lost). (1806). Water-colours.
The Finding of Moses. Water-colours.
The Infant Jesus praying. Water-colours.
The Woman taken in Adultery. Water-colours.
The Burial of Moses. Water-colours.
The Temptation. Water-colours
The Ascension. Water-colours
Angels hovering over the Body of Jesus. (1808). Water-colours
The Angel rolling away the Stone from the Sepulchre. (1808). Water-colours
Jacob’s Ladder. (1808). Water-colours.
The Creation of Eve (Paradise Lost). Water-colours.
Queen Catherine’s Dream. Water-colours
The Judgment of Paris. (1817). Water-colours.
Four Subjects from A. Phillips’ Imitation of Virgil’s First Eclogue. (1821). Woodcuts, first state.
Four Subjects from A. Phillips’ Imitation of Virgil’s First Eclogue. (1821). Woodcuts, first state.
The Wise and Foolish Virgins. (1822). Water-colours
Mirth. Design for Milton’s L J Allegro. Stipple-engraving
The Fire of God is fallen from Heaven. Job, pi. 3. Line-engraving.
Then a Spirit passed before my Face. Job, pi. 9. Line-engraving
I am Young and Ye are Very Old. Job, pi. 12. Line-engraving
The Lord answering Job out of the Whirlwind. Job, pi. 13. Line-engraving
The Morning Stars singing together. Job, pi. 14. Line-engraving.
Job and his Daughters. Job, pi. 20. Line-engraving.
Study for Job and his Daughters. (A different design). Pencil and Indian-ink.
So the Lord blessed the Latter End of Job. Job, pi. 21. Line-engraving
Satan smiting Job. Tempera
The Tempter (Paradise Regained), No. 7. Water-colours
The Tempter Foiled (Paradise Regained), No. 10. Water-colours
Paolo and Francesca. Dante, Inferno, Canto V. Line-engraving, first state
The Falsifiers. Dante, Inferno, Canto XXIX. Line-engraving, first state
Lucia carrying Dante in his sleep. Dante, Purgatorio, Canto IX. Water-colours
The Angel in the Boat. Dante, Purgatorio, Canto II. Pencil and slight colour-wash.
The Earthly Paradise: Beatrice in the Car. Dante, Purgatorio, Canto XXIX. Water-colours
Portrait of Mrs. Blake. Lead pencil.
Portrait of William Blake at work, 1820. By John Linnell. Lead pencil
Portrait of William Blake on Hampstead Heath, 1821. By John Linnell. Lead pencil
Introduction by Laurence Binyon
FOR the sale of the Linnell collection of drawings, prints and books by Blake, the great room at Christie’s was full to overflowing. It was March of 1918. Copies of the Songs of Innocence, of the Marriage of Heaven and Hell; the set of water-colour designs for The Book of Job; the famous century of Dante illustrations; single drawings and rare prints; all were fetching or going to fetch hitherto unparalleled prices. Competition ran high, the excitement of the bidders was infectious. In the middle of the sale Lot 171 was announced; and observers on the edge of the crowd could see, lifted high in the hands of the baize-aproned, impassive attendant, a human mask, conspicuous in its white plaster. It was the life-mask of William Blake; and as those tense features were carried duly along the knots of dealers and bidders, who, pencil and catalogue in hand, threw up at it an appraising glance, the Ironic Muse could surely not have forborne a smile. The auctioneer invited bids, collecting from various quarters those imperceptible nods which give to auctions an air of magic and conspiracy; and still the white mask, with the trenchant lip-line and the full, tight-closed eyes, was held up and offered to every gaze, turned now this way and now that. It seemed to be the most living thing in the room; as if the throng of curious watchers, murmuring among themselves, and the auctioneer himself, were mere shadows engaged in a shadowy chaffering. It seemed to me that, next moment, those eyes would blaze open, seeing, not us, but some vision of celestial radiance; and that all who could not share that vision must dissolve into their native insignificance. Sentences floated through my brain: “I should be sorry if I had any earthly fame, for whatever natural glory a man has is so much detracted from his spiritual glory. I wish to do nothing for profit; I want nothing; I am quite happy.” “Painting exists and exults in immortal thoughts.” “Art is a means of conversing with Paradise.” I remembered how Blake died singing hymns of joy. And I thought of his “madness”; and suddenly it appeared as if the world, with its mania for possessing things, and its commercial values for creations of the spirit, were really insane, and the spirit inspiring Blake the only sane thing in it.
I.
A subtle fluid streams through Blake’s work, which has in it the germ of intoxication; hence people find it hard to judge of it without a certain extravagance, either of admiration or repulsion. Possibly indeed a quite “sane” estimate of it misses something of its essence. But, after all, he is an artist among the artists of the world, with affinities among them, if few of these are to be found among those of his own race, and fewer still among those of his own time. There is no need to judge him by a strange and special standard, as if he were a wholly isolated phenomenon. He is one of the greatest imaginative artists of England.
The first edition of “The Golden Treasury” contained none of Blake’s poems: now his songs are in every anthology. He has come into his kingdom as a poet. As a seer and as a quickening influence on the thought of later generations he is recognized. As an artist, also, he has of late years begun to receive more general homage. But Blake’s art, in its great qualities as in its frequent blemishes and deficiencies, is still not understood and appreciated as it should be; and chiefly because it is little known. Yet it is as painter, draughtsman and engraver that Blake is greatest. Nothing perhaps in his pictorial art quite matches the aerial radiance and felicity of his best songs. But nothing in his poetry has the sustained grandeur of the Job engravings, or of a whole series of splendidly imagined designs.
We are here concerned with Blake solely as an artist. And first let me lay stress on his range and inventiveness as a technician. Were there no mystical ideas or original imagination to attract us to his work, we could still admire the artist who, in a time when the fashionable academicians hardly seemed to know of the existence of any art but that of painting in oils, engraved his own designs, painted in water-colours and in distemper, invented two methods of etching in relief, revived (doubtless without consciousness of any predecessor) the “monotype,” engraved original woodcuts, and made at least one experiment in lithography. He was also the printer of his own “illuminated” books. If Blake had had the means and opportunity of being a sculptor, I feel sure that he would have rejected with scorn the accepted modern way of modelling a figure to be copied in marble by workmen, but would have taken a chisel and a block of stone and gone to work like the carvers of the Gothic cathedrals. But I am far from thinking that, if Blake had had an empty mind and dull imagination, these merits of the innovator and technician would have sufficed of themselves to give him a hold on the world’s memory. Indeed he would not have been driven to find new methods if he had been interested in technique merely for its own sake. He had intense ideas and a peculiar imagination which he wanted to express, and he found the methods in fashion inadequate or uncongenial. The youth of that day who burned with ambition to paint “history” — the term was comprehensively used in the eighteenth century — would naturally aspire above all things to use the medium of oils on a large scale. But Blake hated the oil medium. He said absurd things about the great masters of oil painting — Rubens and Rembrandt and Reynolds — but he was instinctively right in discarding it himself. He made many experiments with one medium or another, though he never arrived at a quite successful solution of his problem, except in water-colour; and here, too, he made experiments, discovering, by a mixture of painting and printing, a way of giving force to the medium adequate to the power of his grandest designs. And he employed similar means for enriching the books which he engraved and printed himself, giving his work a peculiarly original character. As an engraver, he only arrived after long years and towards the end of his life in finding a congenial method. In all this he was not interested in technique for its own sake; he was seeking the expressive counterpart of his imaginative ideas. But neither would these imaginative ideas give him rank as an artist, were they not directly expressed through pictorial design.
