156 research outputs found
Blake Tullis and Emma Crisp (2 of 2)
No full textBlake Tullis and Emma Crisp sitting at the desk and talking after the interview, April 26, 202
Blake Tullis and Emma Crisp (1 of 2)
No full textBlake Tullis and Emma Crisp sitting at the desk and talking after the interview, April 26, 202
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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
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
The Conservative Party and the form of the National Health Service, 1964 - 1979
No full textThis thesis was submitted for the degree of Doctor of Philosophy and awarded by Brunel University, 16/05/2002.This thesis focuses on the development of the Conservative Party's policy in respect of the form of the National Health Service in England between the general elections of 1964 and 1979. By form is meant the basic principles of the
Service and the organisational arrangements (structure, management processes and financing) made to give effect to those principles. After an account of the form of the NHS in 1964, the thesis documents the development of Conservative Party policy on those aspects of form to which attention was given between 1964 and 1979. In doing so, it draws extensively on primary material, much of which (especially that relating to the Party's periods in Opposition) has not, as far as the author can discover, been brought together previously in an historical study. By examining this material in its appropriate context, it is hoped that the thesis makes intelligible a passage of history quite tightly circumscribed both in terms of subject and period. Insofar as an overall theme might be said to emerge, it is of a Party committed to the idea of a comprehensive health service, uncomfortable with the consequences of aspects of the form enacted in 1946 but, conscious of the popularity of the NHS, cautious about making radical changes
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