William Blake (1757-1827) is now generally recognized
as equally a great poet and a great visual artist. During
his lifetime however the works for which he is now most
acclaimed -- the self-printed illuminated books of poetry
such as the Songs of Innocence and Songs of
Experience, The Marriage of Heaven and Hell,
and longer prophetic works like Milton and Jerusalem
-- were known only to a small circle of admirers.
To the public of his time his name, if known at all, would
be most likely associated with his work as a book illustrator
and copy engraver. Blake had been apprenticed as an engraver
and it was chiefly in this capacity that he supported
himself.
In this exhibit we show numerous examples of Blake's
commercial work, including such spectacular triumphs of
his own designs as his illustrations for Edward Young's
Night Thoughts (1797), Robert Blair's The Grave
(both the 1808 and 1813 editions), and one of his
last completed works, the amazing set of Illustrations
of the Book of Job (1825). Also on display are
a many of the works Blake engraved after the works of
other prominent English artists such as John Flaxman,
Henry Fuseli, and Thomas Stothard. These three were (at
least during parts of his life) good friends of Blake
and all were instrumental in helping him obtain patronage
and work. Much of this copy work is infused with Blake's
own artistic sensibility and can be viewed at least in
part as products of his own imagination.
Two large separate engravings are displayed: his enormous
plate after Hogarth's painting illustrating a scene from
John Gay's The Beggar's Opera (1790, our copy a
later printing) and a recent aquisition to the McCormick
Library, his rare portrait engraving of physiognomist
John Caspar Lavater (1800 or 1801). Each is a superb
example of Blake's technical abilities.
