Thomas Phillips (British, 1770-1845)
William Blake [detail of face](1807)
Oil on canvas, 69 x 89 cm.
National Portrait Gallery, London
William Blake's House, Soho, London
Illustration by Frederick Adcock
Published in "Famous Houses and Literary Shrines of London (1912)," p. 121
A countercultural prophet & social critic with a hatred of empire …
Dante and Virgil in the Last Circle of Hell
1824-1827
illustration for The Divine Comedy by Dante Alighieri (Inferno XXXI, 112-143)
‘Tyger Tyger, burning bright, in the forests of the night’
One of William Blake’s best-known works is ‘The Tyger’.
Written and illustrated in 1794, this poem was part of his ‘Songs of Experience’ poetry collection. He is widely thought to have been one of the most influential figures of the Romantic period.
The English poet and artist was born #onthisday in 1757
In the wake of the Industrial Revolution, a group of friends at the University of Oxford joined together with dreams of turning their society towards Romanticism.
The group found contemporary, industrial culture to be barbaric and meaningless and vowed to renew a deep appreciation of beauty throughout all media. The group, known as the Arts and Crafts movement, was led by architect William Morris and painter Edward Burne-Jones.
Often considered mad by his contemporaries, Blake was a misunderstood poet, artist and visionary throughout much of his life. Earning admirers later in his life and after his death, he is now considered a pioneering artist of the Romantic Age and is highly regarded for his expressive and creative works.
Blake produced a diverse and symbolically rich range of work, which explored the imagination as "the body of God" or "human existence itself".
"The Ancient of Days" is a design by William Blake (1757-1827), originally published as the frontispiece to the 1794 work, "Europe a Prophecy."
Songs of Innocence and of Experience: The Chimney Sweeper. Artist: William Blake (British, London 1757-1827 London); Date: ca. 1825; Medium: Relief
Songs of Innocence
Poet, printmaker and artist William Blake died #onthisday in 1827. What's your favourite work by Blake? 🔎 William Blake (1757–1827), Jacob's Ladder, or Jacob's Dream, illustration to the Bible painted for Thomas Butts, Genesis, xxviii. Pen and grey ink and watercolour, c.1799–1807. Read more: http://ow.ly/xuaD30r43cg
Illustration to Milton`s Paradise Lost, 1808, William Blake
The House of Death [aka 'The Lazar House'](c. 1795)
Color-printed monotype finished w/ pen & watercolor, 48.5 x 61 cm.
The Tate Gallery, London
The source here Milton's Paradise Lost, Book XI, in which the Archangel Michael is giving Adam a preview of what miseries his transgression will heap upon his progeny. The guy with the beard hovering over the wretched lepers is a personification of Death. Lines 477-93 read:
... Immediately a place
Before his eyes appeared, sad, noisome, dark;
A lazar-house it seemed; wherein were laid
Numbers of all diseased; all maladies
Of ghastly spasm, or racking torture, qualms
Of heart-sick agony, all feverous kinds,
Convulsions, epilepsies, fierce catarrhs,
Intestine stone and ulcer, colick-pangs,
Demoniack phrenzy, moaping melancholy,
And moon-struck madness, pining atrophy,
Marasmus, and wide-wasting pestilence,
Dropsies, and asthmas, and joint-racking rheums.
Dire was the tossing, deep the groans; Despair
Tended the sick busiest from couch to couch;
And over them triumphant Death his dart
Shook, but delayed to strike, though oft invoked
With vows, as their chief good, and final hope.
The Good and Evil Angels 1795–c.1805
Newton
1795–c.1805
“He is concerned with the ways in which human beings, through greed, destroy the possibility of relationships.” —Scholar Robin Kirkpatrick introduces #Dante, who died #otd in 1321, and explains why The Divine Comedy is more relevant than ever. Tune in @32 mins 👉 tsc.hn/b1040fb
Nebuchadnezzar 1795-c1805
William Blake (1757-1827)
Nebuchadnezzar (c. 1795)
Copper engraving finished in ink & watercolor on paper, 54.3 x 72.5 cm.
The Tate Gallery, London
(Pictured: Plate 26 from Blake’s epic illustrated poem Jerusalem: The Emanation of the Giant Albion which he worked on from 1804 to 1820.)
"Behemoth and Leviathan", by birthday boy William Blake, ca. 1805. The work is from a series of 22 engraved prints he did illustrating the biblical Book of Job: https://buff.ly/2TTqgNJ
William Blake (British, 1757–1827) | Songs of Experience: Title page | ca. 1825 met.org/1H4uiFg
The Poems of Thomas Gray, Design 45, “The Progress of Poesy.”, ca. 1797 – Source.
Fig. 7: The Horse, ca. 1805 – Source.
Fig. 6: William Blake in Youth and Age, by George Richmond,
after Frederick Tatham, ca. 1830 – Source. Fig. 1: There Is No Natural Religion, Plate 9, “Therefore God becomes . . . . ” (Bentley b12), ca. 1788 – Source.
Fig. 2: Young’s Night Thoughts, Page 43, “Night the Third, Narcissa”, 1797 – Source.
Fig. 3: The Parable of the Wise and Foolish Virgins, ca. 1825 – Source.
Fig. 4: Europe. A Prophecy, Plate 1, Frontispiece, 1794 – Source.
Fig. 5: Jerusalem, Plate 26, “Such Visions Have….”, 1804 to 1820 – Source.
William Blake (British, 1757-1827)
Joseph of Arimathea among the Ruins of Albion (1773?)
Line engraving, 16.1 x 5.5 in.
The British Museum, London
If the date in the inscription is correct, this would be one of Blake's first attempts at engraving, executed at the tender age of sixteen. Some scholars date it later, since it does not appear to have printed before 1809. Blake's claim that it is a copy of a painting by Michelangelo also seems to be spurious, unless it refers to a segment of "The Last Judgment." Joseph of Arimathea was, according to the Gospels, the man who donated his own prepared tomb for the burial of Jesus after Jesus' Crucifixion.
William Blake (British, 1757–1827)
Lear and Cordelia in Prison (c. 1779)
Pen and ink and watercolor on paper, 12.3 x 17.5 cm.
The Tate Gallery, London
Blake became a student in the Royal Academy Schools in October 1779. There he seems to have met the Academy’s President, Sir Joshua Reynolds. One of Blake’s friends later said that when the young Blake showed Reynolds his designs, Reynolds recommended that Blake work with ‘less extravagance and more simplicity, and to correct his drawing.’
This watercolor, showing a scene from Shakespeare’s play "King Lear," hints at what Reynolds meant. But the drawing of Niobe, hung above, shows Blake could draw carefully. He was always equally careful in his experiments with different paint mediums.
(from the Tate catalog)
William Blake (British, 1757–1827)
Lear Grasping a Sword (c. 1780)
Pen and watercolor on paper, 9.4 x 7.7 cm.
The Boston Museum of Fine Arts
The plays and poetry of William Shakespeare were enjoying a wave of well-deserved and long-overdue popularity in the 1780s, and Blake was among his enthusiastic new fans. This is an illustration he did for the Bard's "King Lear." Others for "Othello" and "Romeo and Juliet" follow in this gallery. None of them were published.
William Blake claims he was inspired to create this phantasmagoric gothic masterpiece after encountering a terrifying entity in a vision, which introduced itself as “The Ghost of a Flea.”
William Blake from THE GATES OF PARADISE
Jacob’s Ladder circa 1806
Jacques Louis David (French, 1748–1825) | Antoine Laurent Lavoisier (1743–1794) and His Wife (Marie Anne Pierrette Paulze, 1758–1836) | 1788
雨芸
蔡源煌《從浪漫主義到後現代主義》（1987）
The Romantic Rebellion: Romantic Versus Classic Art: Sir Kenneth Clark:
《從古典的到浪漫的》楓城出版社│Kenneth Clark 雨芸 譯
A Glossary of Literary Terms : M.H. Abrams，第4版起有漢譯
左 第7版
「浪漫文學的特質可以用『解脫』兩個字來涵括。它一則解脫既往的文學規格化做法，一則也尋求人性束縛的解……脫浪漫主義的精神，誠如布雷克在《天堂與地獄之結合》（A Marriage of Heaven and Hell）中所揭櫫的，便是要透過善惡兼容的觀點，解脫理性約束，尋求活力的脫羈。蔡源煌《從浪漫主義到後現代主義》（1987）頁4
在政治上，浪漫主義影響了法國大革命，而在文學史上，浪漫主義是一次大規模的文學運動，其風潮遍及英法德、俄羅斯以及拉丁美洲。
然而，十九世紀的寫實主義和自然主義登場之後，便開始標榜反浪漫的路線。前者強調小說家應原原本本而精確的臨摹生命，而後者強調作家筆下脫離不了決定人性的兩個因素──遺傳和環境。
The Wanderer in the Mists,1818,Caspar David Friedrich
Wanderlust is, historically, a German idea. ‘Wandern,’ meaning to hike or to roam, and ‘lust,’ of course, meaning to desire, began not as a leisure activity but as a serious existential exercise of going out into nature in order to go into oneself.
TASCHEN
“Moonrise by the Sea” (c. 1821) by German Romantic painter Caspar David Friedrich, who was born on this day in 1774.
德拉克洛窪 (Delacroix 1791-1863)
其色彩法其實多少受到透納等英國風景畫家的影響，他又影響了後來的印象派畫家，他的代表傑作，無一不是充滿強烈的色彩及燃燒的熱情，高呼繪畫的自由與解放。
2018 Summer Musée du Louvre
"Grappling with the Modern: From Delacroix to the Present Day"
Héliodore chassé du temple, Eugène Delacroix
Heliodorus從寺廟追逐
La Mort de Sardanapale (1827)
上半
Dante et Virgile aux enfers, aussi appelée La Barque de Dante
Delacroix en fait un usage hautement virtuose comme dans son œuvre « Macbeth et les trois sorcières ».
the ceiling "Apollo killing the Python snake"
the Tuileries gardeners...a solar composition, with bulbs of bright and contrasting colors. Blue, red, pink, purple, black and yellow come to beautify the garden beds, with 9 varieties of tulips, fritillaries, narcissus mixed with small bulbs, squill and Chionodoxa,
Antoine-Jean Gros (1771-1835), Napoleon on the Battlefield of Eylau
1816
1846 Napoleon's (1769-1821) Awakening to Immortality - Francois Rude (1784 - 1855)
Napoléon Bonaparte、1769年8月15日生
哥雅 (Goya 1746-1828)
哥雅喜歡畫一些生死關頭的場面，色彩及光線的明暗效果處理得當，往往能扣人心弦。他的作品愈到晚期，由於目睹戰爭的殘酷，變得愈加尖刻、嘲弄、冷酷、陰森，有如夢魘般的恐怖。他認為在自然界裡沒有線條，只有在空間上顯出明、暗、前、後的色面，他這種觀念，對於後來的印象派，無疑是有點影響。
Self-portrait at 69 Years by Francisco de Goya
A young woman with a letter, 1814~19
Francisco Goya.
Time of the Old Women.
1808~12
Por que fue sensible. (Because she was susceptible.)
1796
The Disasters of War (Spanish: Los desastres de la guerra) /82
Plate 3: Lo mismo (The same).
The Third of May 1808,
Conceived on a total scepticism
The Agony in the Garden
Goya
Artist: Francisco Goya Medium: Oil on panel Size: 47 x 35 cm Date: 1819
Los disparates (The Follies), 1815-23 (1864發行) 可見世界的分、毀、劈
Νο. 13: Modo de volar (A way of flying),
Νο. 10: El caballo raptor (Kidnapping horse),
Los disparates (The Follies), also known as Proverbios (Proverbs) or Sueños (Dreams) is a series of prints
https://en.wikipedia.org/wiki/Los_disparates
Goya
The Last Communion of St. Joseph of
.San José de Calasanz
浪漫主義
作者： （法）瑪麗亞·特蕾莎·卡拉喬洛
出版社：北京美術攝影出版社，2016
前言；序幕 與魔鬼約會；引論 浪漫主義的靈魂及其命運
第一部分 歐洲的浪漫主義 夕陽西下：啟蒙運動的黃昏；德國、英國和斯堪的納維亞的浪漫主義：繪畫和詩歌；法國和拉丁世界的浪漫主義：歷史的喉舌
第二部分 藝術中的浪漫主義 靈魂的鏡子：風景畫；肖像畫以及「我」的秘密；美與死亡；源於愛與感覺；小說檢驗歷史
結論 超越浪漫主義 附錄
浪漫主義首先跟隨歌德的先鋒腳步出現在德國耶拿以及海德堡的社團當中。幾乎就在同時，雪萊、濟慈和拜倫等英國詩人立即給予響應，而沃爾特·司各特也開始在歐洲宣揚他歷史研究的嶄新視角。弗里德里希深刻改革了風景畫，透納則顛覆傳統，運用幾乎抽象的形狀作畫。法國的浪漫主義確立較晚，直到十九世紀二三十年代才圍繞維克多·雨果的魅力形象出現。循着格羅和籍里柯的足跡，德拉克洛瓦猶如星辰般崛起。浪漫主義之后來到意大利，喚醒全體國民的愛國熱情，終促成1870年的國家統一。浪漫主義的發生盡管具有地域和時間的差異，但卻始終是一場統一而同質的運動，在二三十年間引起歐洲靈魂的巨大變革。
德國文化首頁>每週課程內容(浪漫主義)
德國的知識份子幻想自由，卻不願亦不可能仿效法國在政治上的革命，乃積極掀起浪漫主義的運動。
III.浪漫主義的訴求：積極浪漫主義- 企圖加強人的生活抑制，喚起人心對現實一切壓迫的反抗。消極浪漫主義-粉飾現實，與現實妥協，或逃避現實，墜入個人內心世界的深淵。Heinrich Heine (海涅1797-1856)對德國浪漫主義的定義："它是中世紀文藝的復活，一種表現在中世紀短歌、繪畫與建築物中的文藝生活"。蘭花為德國浪漫派幻想渴望和嚮往中世紀的象徵。宗教傾向是德國浪漫主義的特色，基督教的唯靈論是浪漫派的核心 。
體現了藝術的博愛，涉及小說、詩歌、繪畫、建築、音樂等多種藝術形式。
浪漫主義的表現形式和浪漫主義的特點。如在風景畫中，賦予已完結的以未完結的一縷空氣、一束倒影、一道閃光，便是將其浪漫主義化；在肖像畫中，浪漫主義藝術家則多以獨處於大自然中的形象出現，站在暴風雨將至的天空下，周遭的環境象征着他們的孤獨、厭世以及對自己的藝術毫無條件的忠誠；浪漫主義作品常以「美與死亡」作為創作主題，美學的快感因為死亡那焦慮、恐怖且觸手可及的存在感而更顯強烈；等等。用司湯達的話來說：「浪漫主義是向人民介紹文學作品的藝術，這些文學作品能夠根據他們實際的習慣和信仰為他們帶來盡可能多的樂趣。而古典主義則相反，是在向他們介紹為他們的曾祖父帶來較大樂趣的文學。」
The Banksy painting ‘The Banality of the Banality of Evil’ was one of the artworks of his October 2013 NYC residency.
“banality of evil” ~Arendt
Goldhagen寫了Hitler's Willing Executioners: Ordinary Germans and the Holocaust . 1996
Gustave Doré
信天翁導船入南極冰洋
The Rime of the Ancient Mariner,
6th
生死之間與死神玩骰子
14th
Gustave Doré
Samuel Taylor Coleridge died #onthisday in 1834. His supernatural epic The Rime of the Ancient Mariner, about the perils that follow after a mariner shoots an albatross, may have been inspired by James Cook’s polar expeditions, and that of other explorers http://bit.ly/2uN3ZGl
Image from The Ancient Mariner illustrations by Gustave Doré (1875.b.5.)
british
The Print in Early Modern England: An Historical Oversight Hardcover – August 24, 2010
by Malcolm Jones (Author)
the Barbizon school. Théodore Rousseau 1812 – 1867 shared the difficulties of the romantic painters of 1830, in securing for their pictures a place in the annual Paris exhibition. The influence of classically trained artists was against them, and not until 1848 was Rousseau presented adequately to the public.
ART WORDS: The Ancients were a group of artists who formed around the visionary artist and poet William Blake in the last years before his death in 1827.
Their work expressed a mystical view of nature. The group's leader was Samuel Palmer and other figures included Edward Calvert and George Richmond.
Samuel Palmer, A Hilly Scene c.1826–8, Tate collection
http://bit.ly/2uPGVG8
‘This world of imagination is the world of eternity.’ - William Blake
The Overthrow of Apollo and the Pagan Gods, watercolour from William Blake's illustrations of On the Morning of Christ's Nativity (1809)
William Shakespeare died on this day 401 years ago. This blog post highlights works from our collection that were inspired by his legacy.http://www.metmuseum.org/…/2016/william-shakespeare-anniver…
William Blake (British, 1757–1827) | Pity | ca. 1795
The Ancient of Days setting a Compass to the Earth By William BLAKE, 1794
Book of Proverbs viii. 27 (KJV), "when he set a compass upon the face of the earth."
Proverbs 8:27
King James Version
27 When he prepared the heavens, I was there: when he set a compass upon the face of the depth:
Read full chapter箴言:Chapter 8
| 28當他上使穹蒼穩立，下使淵源固定時， |
| 29當他為滄海劃定界限，令水不要越境，給大地奠定基礎時， |
| 30我已在他身旁，充作技師。那時，我天天是他的喜悅，不斷在他前歡躍， |
| 31歡躍於塵寰之間，樂與世人共處。 ---- From Wikipedia, the free encyclopedia https://en.wikipedia.org/wiki/The_Ancient_of_Days  The Ancient of Days setting a Compass to the Earth, frontispiece to copy K of Europe a Prophecy |
God blessing the seventh day
William Blake
Blake Hell 33 Ugolino.jpg
tsc.hn/b1040fb
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