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High-quality facsimile editions, with editorial commentary and full historical and bibliographical apparatus. Other hand-colored "facsimiles" were prepared early in this century under the direction of William Muir; both the coloring and the overall appearance of these copies are unreliable indicators of Blake's originals. There are multiple links to verbal; and visual resources. This is the preeminent site for all resources in the Humanities, including literary and cultural studies and the arts. This brilliant, eminently readable biography sets a new standard for Blake biography.
The entries in Erdman's printed Concordance are keyed to the pages in this edition, which must be used to locate passages before cross-referencing them in Erdman's , ed. These are extremely high quality facsimiles, super-illustrated and accompanied by detailed bibliographical and critical apparatus. Erdman surveys most of the copies and itemizes variants in the visual details of the discrete copies. Catalogues all Blake's writings in illuminated printing, conventional typography, and in manuscript, as well as reproductions. Hanover, NH: University Press of New England, 1988. The site also contains links to other Blake sites, to bibliographical materials, and to electronic versions of such central reference works as Erdman's . This is more a collection of "raw materials" than an actual biography. Note the total absence of the normal documentation apparatus (footnotes and such). For any sort of work with Blake's visual images, or with his characteristic themes, these volumes are a true goldmine of information. Blake's engravings are usually very sharp and finely detailed, and this quality is largely lost in these volumes.
These texts, foundational to Blake studies, start from the assumption that all of Blake’s works can be approached in a philosophically, aesthetically, and politically coherent manner.
Although subsequent generations of scholars have critiqued this approach, it was nonetheless extremely important in stimulating the critical reception of that work.He also became a student at the Royal Academy in 1779 and during his lifetime was better known as an artist than a poet.Although not unknown at the time of his death, the early promise as an artist that Blake had been considered to demonstrate during the 1780s and early 1790s had largely been displaced by a reputation for being an eccentric and difficult figure on the fringes of the London art scene.EDITIONS FACSIMILES REPRODUCTIONS AND FACSIMILES OF THE ILLUMINATED POETRY REFERENCE WORKS ELECTRONIC RESOURCES BIOGRAPHIES BLAKE AS A VISUAL ARTIST: REFERENCE WORKS BLAKE AS A VISUAL ARTIST: CRITICAL WORKS BLAKE AS A LITERARY ARTIST IMPORTANT COLLECTIONS OF ESSAYS NOTE: The following bibliography is supplementary to the excellent bibliography that is maintained on The William Blake Archive. For individual volumes, dates, and editors, see "Editions," above. His "descriptions," however, are often speculative rather than objective, and are occasionally informed more by enthusiasm than by accuracy of observation. Also catalogues the following: books with Blake's engravings and illustrations, catalogues, books owned by Blake (including books owned by "the wrong William Blake"! This old but still valuable dictionary (for those who are not made uncomfortable by this sort of reductivist approach to Blake) was compiled by the greatest of the early American Blake scholars. This is the 1988 revised edition of Erdman's definitive text, prepared with Erdman's permission and cooperation. It attempts to document, among other things, all references to Blake by his contemporaries. Readable--but under no circumstances to be trusted implicitly without reference to other biographies like the Ackroyd or the Wilson. The on-line bibliography at The William Blake Archive, which is updated annually, is now the best place to begin on-line reserach on Blake, his circle, and his times., David Bindman, General Editor. Princeton: The William Blake Trust and Princeton University Press, 1991-95. The facsimile pages from these volumes have now been collected and published in a single volume, with minimal letterpress, as (1937). This revised and updated edition contains a particularly useful index by Morris Eaves. The site also includes a link to the fully searchable Concordance to Blake's writings. is a decent website, arranged chronologically, that traces Blake's deve;lopment within the context of his times. The array of links is daunting, but the site is very well organized. Ackroyd reads Blake's works perceptively; more important, though, he presents an engaging, accessible, and credible picture of the man and the cultural context for his works in the various artistic media in which Blake worked. It also includes resources like mapmakers, translation programs, directories, encyclopedias, and links to links -- including links to courses and syllabi from other institutions. the title and site indicate, this is a sub-site within The Voice of the Shuttle. quite wonderful site facilitates access to a remarkable variety of visual materials relating to clothing and other articles of domestic life during the Romantic period generally and the Regency (c. From the end of the 19th century through the 20th century, Blake’s reputation increased enormously, until he came to be considered one of the leading Romantic figures in both art and poetry.Some of Blake’s poetry had attracted attention during his lifetime, particularly the lyrical verse included in Songs of Innocence and of Experience (1794), but the so-called prophetic books that he produced in the form of illuminated books, culminating in the epic Jerusalem the Emanation of the Giant Albion (c.Blake inspired a group of young artists commonly known as the Shoreham Ancients, after the Kent village of Shoreham, where the painter Samuel Palmer owned a house, but within a generation Blake had been almost entirely forgotten.His reputation was restored when his art and poetry were extolled in an influential biography written by Alexander Gilchrist, Life of William Blake, “Pictor Ignotus” (see Gilchrist 2010, cited under Biographies), as well as through being celebrated by leading figures associated with the Pre-Raphaelite movement, most notably the Rossetti brothers and Algernon Charles Swinburne.