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The twelve large colour prints of William Blake: a study on techniques, materials and context
No full textThe aim of this thesis is to study in entirety the group of large colour prints which William Blake made between 1795 and 1805. The series of prints represents the single most important and complete development of Blake’s skill as an innovative printmaker. Although they include some of Blake’s best-known images, they have not been studied before in their entirety or from the point of view of analysing the techniques and methods Blake had used. My study will show how Blake executed these truly impressive prints in terms of materials, method and motives. The first half of the thesis deals with the materialistic aspects of Blake’s colour printing. In chapter one tracing the controversial two-pull discussion to the root, I will make clear the focus points as well as revealing the early tradition of experimental criticism on Blake’s colour printing method. Focusing on two important critics, W. Graham Robertson and Ruthven Todd, and the periods they lived, I attempt to reveal the role they played in a wider context. Also I show how the tradition of Blake’s art was inherited directly through the Ancients to the Pre-Raphaelite Brotherhood, which leads to Robertson and Todd. In the second chapter I deal with the development of Blake’s colour printing experiments. It is obvious that the Twelve Large Colour Prints were produced as a result of Blake’s series of colour printing experiments, starting with monocolour simple prints, going through the illuminated books progressing with more colours and higher skills
Faith, feeling and gender in the writing of Hartley, Wollstonecraft and Blake
No full textThis thesis examines David Hartley’s Observations on Man (1749) and elucidates how Hartley’s mechanical approach to mind, his conception of emotion, and the religious status he awards the body were newly relevant after 1791. In this way it identifies a ‘Hartlean culture’ within the Romantic period and seeks to explore how such an intellectual climate influenced the radical writers William Blake (1757–1827) and Mary Wollstonecraft (1759–1797). Blake and Wollstonecraft were acquainted with the famous bookseller Joseph Johnson, who republished Observations on Man in various forms and versions between 1775 and 1801. They also had an association with Johnson’s circle; the Hartlean concepts found throughout their work evidence Hartley’s latent popularity within intellectual culture, as well as the writers’ engagement with contemporary philosophical ideas. I propose that the renewed curiosity in Hartley during the 1790s reveals a specific religious and revolutionary culture wherein non-conformist views about Christianity and new ideas about the body, emotion and women flourished. Such a cultural moment renders Hartley a particularly important figure for debate since he integrated progressive values about equality and faith alongside advancing understanding of anatomy and mind. Hartley identified how God and happiness could be found physically within each person. He did this by combining a complex theory of vibrations and theory of association, where the body and mind functioned mechanically through a person’s feelings of pleasure and pain. These feelings manifested as physical vibrations and eventually led every person to desire goodness until finally, they can become ‘Godlike’ themselves. Hartley’s amalgamation of Christian and new theoretical concepts appealed to Blake and Wollstonecraft, and was much unlike the approach of Joseph Priestley who abridged Observations in 1775 to promote a wholly ‘scientific’ text. In this way, we can see resonances between Hartley, Blake and Wollstonecraft, even if they existed in different cultural contexts. In rethinking Blake and Wollstonecraft through Hartley, I offer new insights into their feminism. In particular I attend to how Hartlean culture enabled these writers to re-imagine gender and emotion: Wollstonecraft reinstates the female experience back into Hartlean concepts in order to promote women’s emotional potential and what she understands as the special power of the female-female bond. Blake responds to both Wollstonecraft and Hartley with his elevation of the feminine, one that envisions new potential for both sexes, emotionally and spiritually. In both cases, the writers share a fascination for the image of the female saviour, and they use terminology and concepts found in Hartley’s work to communicate their views. In being attentive to the shared vocabulary and ideas of these three writers’ works, this thesis highlights the importance of David Hartley and Hartlean culture for the field of Romantic Studies. It also illuminates Observations on Man as a vital contribution to the intellectual context of the 1790s
Job’s Gethsemane: tradition and imagination in William Blake’s illustrations for the book of job
No full textBlake created two versions of his Illustrations of the Book of Job, and it is now agreed that about twenty years separates his first watercolour series and the final engraved set of plates. The first chapter is biographical and technical: it establishes that the Butts series of water-colours was the product of the tumultuous and creative years 1805-10, following a time wh6n Blake experienced a strong sense of vision and Christian regeneration; whereas the engraved set was produced 1821-1826, at the end of his life. It also reviews all Blake's treatments of the Job theme. The friends-turned-accusers seem to have been a central pre-occupation. Blake's illustrations contain important elements which are not found in the Old Testament text. I have followed Bo Lindberg's principle that explanation should be sought in the artistic tradition, and in the work itself The second chapter concentrates on the tradition available to Blake, following and supplementing Lindberg's examination of the influence of the apocryphal Testament of Job, and of the artistic tradition of seeing Job as alter Christus and as Christian. Chapters three to five, interpreting Blake's imaginative use of this material, are new both in focussing on the Butts set, and in exploring the importance to Blake of St.Teresa, Fenelon, Mme. Guyon, Hervey and other people of prayer. Also discussed are Joseph Hallett's radical biblical commentary, of which Blake owned a copy, variant proofs discovered by Robert Essick of the first and last engraved plates, and the thirteenth century Job wall- paintings discovered in 1800 in St. Stephen's Chapel, Westminster. Blake's Job was unique in the corpus of his work. Previous studies have followed Wicksteed in concentrating on the engraved set, and no one has explored the implications of the earlier dating now agreed for the watercolour series. The thesis is essentially concerned with Blake's Christocentric theme, and Job's inner journey of prayer, in these illustrations. Conclusions drawn differ substantially from Wicksteed's
A Hundred Years of Photo Wallets:Quentin Blake Centre for Illustration's Book of the Month
No full textAn interview with Annebella Pollen, author of More Than a Snapshot: A Visual History of Photo Wallets, which was selected as the May 2023 Book of the Month by the Quentin Blake Centre for Illustration
Dr. Holly Blake and Dr. Melissa Ooten - Faculty Author Interview
No full textDr. Holly Blake, Director of the WILL* program and Associate Dean for Outreach Education and Development, and Dr. Melissa Ooten, Associate Director of the WILL* Program and gender research specialist, discuss their new book, Audacious Voices: Profiles in Intersectional Feminism, published recently by She Writes Press. The book is a collection of twelve stories from WILL* alums. WILL* is a nationally recognized program for students interested in exploring gender through an intersectional lens, both in and out of the classroom. Students strengthen their leadership skills as they actively work to create a more equitable world
A Hundred Years of Photo Wallets:Quentin Blake Centre for Illustration's Book of the Month
No full textAn interview with Annebella Pollen, author of More Than a Snapshot: A Visual History of Photo Wallets, which was selected as the May 2023 Book of the Month by the Quentin Blake Centre for Illustration
William Blake on Self and Soul /
No full textIt has been clear from the beginning that William Blake was both a political radical and a radical psychologist, and in William Blake on Self and Soul Laura Quinney uses her sensitive, surprising readings of the poet to reveal his innovative ideas about the experience of subjectivity.It has been clear from the beginning that William Blake was both a political radical and a radical psychologist, and in William Blake on Self and Soul Laura Quinney uses her sensitive, surprising readings of the poet to reveal his innovative ideas about the experience of subjectivity.Electronic reproduction.Mode of access: Internet via World Wide Web.Description based on online resource; title from PDF title page (publisher’s Web site, viewed October 27 2015
Conversing with Animal Forms of Wisdom\u27\u27: Blake\u27s Visions of Eternity in Context
No full textHad anyone been paying attention, the endings of Blake\u27s major prophecies-Milton, The Four Zoas, and Jerusalem-might have either puzzled or appalled Blake\u27s Christian contemporaries. Each ends in a movement out of the fractured, fallen state and, in the case of The Four Zoas and Jerusalem, into the promised, eternal paradise, if only for a brief glimpse. Blake\u27s visions of the restored or heavenly state respond to common eighteenth-century Christian depictions of the afterlife, most of which he treats with suspicion, even disdain. Scholars have shown how conceptions of heaven shift during the period; theocentric eternities of pure spirit spent exulting in the presence of God give way to modern heavens of various personal delights. Despite this shift, most heavens before and after Blake either exclude the rest of earthly creation or include it in a kind of reflective or decorative role. If they appear at all, nonhuman creatures function either as evidence of God\u27s greatness or merely as pleasurable ornamentation for a redeemed humanity\u27s eternal home. Blake\u27s rejection of these mainstream heavens may account for his tendency to use the term heaven with irony; heaven\u27\u27 in his poetry most often supports-and masks-systems of oppression or delusion. But in the major prophecies, he describes the movement toward heaven and a continued dynamic process that for Blake defines humanity\u27s redeemed state. Blake\u27s visions of heaven and the movement thereto recall the few writings of seventeenth-century radicalism in which animals and humans enjoy a new world of leveled political and natural hierarchies. In Blake\u27s vision of renewal, nonhuman creatures play even more prominent roles. The animal, as it participates beside and with the human in Blake\u27s visions of apocalypse and heaven, proves to be an integral aspect of the divine-human being. In casting the animal so, Blake contests common eighteenth-century discourses of heaven, as well as the earthly systems of power and subjugation he thinks they buttress
Brandon Mueller (2003)
No full textA photograph of Springfield College volleyball player, Brandon Mueller taken in 2003. The photograph shows Brandon standing on the volleyball court in Blake Arena on the campus of Springfield College. He is wearing a white number 16 jersey and maroon sweatpants. He has a volleyball in is right hand, tucked against his body.A standout for the men's volleyball program, Mueller was a four-year letter winner for the Pride. Brandon Mueller led the Pride to a pair of Molten Invitational Division III National Championships, as the Pride hoisted the national championship trophy in 2002 and 2003, and was named the Most Valuable Player in each of those national championships. A four-time Eastern Intercollegiate Volleyball Association (EIVA) Division III All-Conference player selection, Mueller was named to the EIVA Division I All-Conference team three times, including a first-team honoree in 2004. His name has been etched into the NCAA and Springfield College record books, as he holds the program record for most career kills with 1,604, as well as NCAA records for most kills in a five-set match (37) and most attempts in a five-set match (80), and is second in NCAA history for most kills in a five-set match (36) and three-set match (26).
Mueller continued his volleyball career after graduating from Springfield College when he played professionally in Germany. He has since moved to the classroom and sidelines, and has taught and coached at Deer Creek-Mackinaw High School since 2013, and was named Illinois High School Coach of the Year in 2014
Beastly Blake [electronic resource] /
No full textBlake’s ‘Human Form Divine’ has long commanded the spotlight. Beastly Blake shifts focus to the non-human creatures who populate Blake’s poetry and designs. The author of ‘The Tyger’ and ‘The Lamb’ was equally struck by the ‘beastliness’ and the beauty of the animal kingdom, the utter otherness of animal subjectivity and the meaningful relationships between humans and other creatures. ‘Conversing with the Animal forms of wisdom night & day’, Blake fathomed how much they have to teach us about creation and eternity. This collection ranges from real animals in Blake’s surroundings, to symbolic creatures in his mythology, to animal presences in his illustrations of Virgil, Dante, Hayley, and Stedman. It makes a third to follow Queer Blake and Sexy Blake in irreverently illuminating blind spots in Blake criticism. Beastly Blake will reward lovers of Blake’s writing and visual art, as well as those interested in Romanticism and animal studies.1. Introduction: ‘Conversing with the Animal forms of wisdom’: Helen P. Bruder and Tristanne Connolly -- 2. Blake’s ‘Horses of Instruction’: Kurt Fosso -- 3. Blake’s ‘Auguries of Innocence’ as / in Radical Animal Politics c. 1800: Anne Milne -- 4. In the Company of Wolves: Blake’s Lyca Poems as Political Fable: Elizabeth Effinger -- 5. Apocalyptic Visions, Heroism, and Intersections of the Human and ‘the Not Human’ in Blake’s Milton: Diane Piccitto -- 6. Blake as Shaman: The Neuroscience of Hallucinations and Milton’s Lark: David Worrall -- 7. Bestial Metamorphoses: Blake’s Variations on Trans-human Change in Dante’s Hell: Luisa Calè -- 8. ‘How sweet is the Shepherds sweet lot’?: Sheep in Blake’s Designs: Hayley Flynn -- 9. ‘Train of Elephants’: Blake’s (Un)tamed Beasts and Hayley’s Animal Ballads: Mark Crosby -- 10. From Vampire to Apollo: William Blake’s Ghosts of the Flea (c. 1819-20): Sibylle Erle -- 11. News from the Thames (Blake! There’s Something in the Water): Bethan Stevens.Blake’s ‘Human Form Divine’ has long commanded the spotlight. Beastly Blake shifts focus to the non-human creatures who populate Blake’s poetry and designs. The author of ‘The Tyger’ and ‘The Lamb’ was equally struck by the ‘beastliness’ and the beauty of the animal kingdom, the utter otherness of animal subjectivity and the meaningful relationships between humans and other creatures. ‘Conversing with the Animal forms of wisdom night & day’, Blake fathomed how much they have to teach us about creation and eternity. This collection ranges from real animals in Blake’s surroundings, to symbolic creatures in his mythology, to animal presences in his illustrations of Virgil, Dante, Hayley, and Stedman. It makes a third to follow Queer Blake and Sexy Blake in irreverently illuminating blind spots in Blake criticism. Beastly Blake will reward lovers of Blake’s writing and visual art, as well as those interested in Romanticism and animal studies
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