William Blake in an 1807 portrait by Thomas Phillips
William Blake (November 28, 1757–August 12, 1827) was an English poet, painter, and printmaker. Largely unrecognised during his lifetime, his work is today considered seminal and significant in the history of both poetry and the visual arts.
According to Northrop Frye, who undertook a study of Blake's entire poetic corpus, his prophetic poems form "what is in proportion to its merits the least read body of poetry in the English language." Others have praised Blake's visual artistry, at least one modern critic proclaiming Blake "far and away the greatest artist Britain has ever produced."
While his visual art and written poetry are usually considered separately, Blake often employed them in concert to create a product that at once defied and superseded convention. Though he believed himself able to converse aloud with Old Testament prophets, and despite his work in illustrating the Book of Job, Blake's affection for the Bible was belied by his hostility for the church, his beliefs modified by a fascination with Mysticism and the unfolding of the Romantic movement around him. Ultimately, the difficulty of placing William Blake in any one chronological stage of art history is perhaps the distinction that best defines him.
Once considered mad for his single-mindedness, Blake is highly regarded today for his expressiveness and creativity, and the philosophical vision that underlies his work. As he himself once indicated, "The imagination is not a State: it is the Human existence itself."
William Blake was born in 28a Broad Street, Golden Square, London on 28 November 1757, to a middle-class family. He was one of five children, though an older brother had died in infancy. Blake's father, James, was a hosier. He never attended school, being educated at home by his mother.  The Blakes were Dissenters, and are believed to have belonged to the Moravian sect. The Bible was an early and profound influence on Blake, and would remain a source of inspiration throughout his life.
From a young age Blake claimed to have seen visions. The earliest instance occurred at the age of about eight or ten in Peckham Rye, London, when he reported seeing a tree filled with angels "bespangling every bough like stars." According to Blake's Victorian biographer Gilchrist, he returned home to report his vision, but only escaped being thrashed by his father, through the intervention of his mother. Though all the evidence suggests that his parents were largely supportive, his mother seems to have been especially so, and several of Blake's early drawings and poems decorated the walls of her chamber.
On another occasion, Blake watched haymakers at work, and thought he saw angelic figures walking among them. In later life, his wife Catherine would recall the time he saw God's head "put to the window". The vision, Catherine reminded her husband, "Set you ascreaming." 
Blake began engraving copies of drawings of Greek antiquities purchased for him by his father (a further indication of the support his parents lent their son), a practice that was then preferred to actual drawing. Within these drawings Blake found his first exposure to classical forms, through the work of Raphael, Michelangelo, Marten Heemskerk and Albrecht Dürer.(Blake Record, 422) His parents knew enough of his headstrong temperament that he was not sent to school but was instead enrolled in drawing classes. He read avidly on subjects of his own choosing. During this period, Blake was also making explorations into poetry; his early work displays knowledge of Ben Jonson and Edmund Spenser.
Apprenticeship to Basire
On 4 August 1772, Blake became apprenticed to engraver James Basire of Great Queen Street, for the term of seven years. At the end of this period, at the age of 21, he was to become a professional engraver.
There is no record of any serious disagreement between the two during the period of Blake's apprenticeship. However, Ackroyd's biography notes that Blake was later to add Basire's name to a list of artistic adversaries—and then crossed it out.(43, Blake, Peter Ackroyd, Sinclair-Stevenson, 1995) This aside, Basire's style of engraving copied images from the Gothic churches in London (it is possible that this task was set in order to break up a quarrel between Blake and James Parker, his fellow apprentice), and his experiences in Westminster Abbey contributed to the formation of his artistic style and ideas; the Abbey of his day was decorated with suits of armour, painted funeral effigies and varicoloured waxworks. Ackroyd notes that "the most immediate [impression] would have been of faded brightness and colour".(44, Blake, Ackroyd) In the long afternoons Blake spent sketching in the Abbey, he was occasionally interrupted by the boys of Westminster School, one of whom "tormented" Blake so much one afternoon that he knocked the boy off a scaffold to the ground, "upon which he fell with terrific Violence". Blake beheld more visions in the Abbey, of a great procession of monks and priests, while he heard "the chant of plain-song and chorale".
The archetype of the Creator is a familiar image in his work. Here, Blake depicts his demiurgic figure Urizen stooped in prayer, contemplating the world he has forged. The Song of Los
is the third in a series of illuminated books painted by Blake and his wife, collectively known as the Continental Prophecies
The Royal Academy
In 1779, Blake became a student at the Royal Academy in Old Somerset House, near the Strand. While the terms of his study required no payment, he was expected to supply his own materials throughout the six-year period. There, he rebelled against what he regarded as the unfinished style of fashionable painters such as Rubens, championed by the school's first president, Joshua Reynolds. Over time, Blake came to detest Reynolds' attitude toward art, especially his pursuit of "general truth" and "general beauty". Reynolds wrote in his Discourses that the "disposition to abstractions, to generalizing and classification, is the great glory of the human mind"; Blake responded, in marginalia to his personal copy, that "To Generalize is to be an Idiot; To Particularize is the Alone Distinction of Merit".  Blake also disliked Reynolds' apparent humility, which he held to be a form of hypocrisy. Against Reynolds' fashionable oil painting, Blake preferred the Classical precision of his early influences, Michelangelo and Raphael.
In July 1780, Blake was walking towards Basire's shop in Great Queen Street when he was swept up by a rampaging mob that stormed Newgate Prison in London. Many among the mob were wearing blue cockades on their caps, to symbolise solidarity with the insurrection in the American colonies. They attacked the prison gates with shovels and pickaxes, set the building ablaze, and released the prisoners inside. Blake was reportedly in the front rank of the mob during this attack; most biographers believe he accompanied the crowd impulsively.
These riots, in response to a parliamentary bill designed to advance Roman Catholicism, later came to be known as the Gordon Riots; they provoked a flurry of legislation from the government of George III, as well as the creation of the first police force.
Marriage and Early Career
In 1782, Blake met John Flaxman, who was to become his patron, and Catherine Boucher, who was to become his wife. At the time, Blake was recovering from a relationship that had culminated in a refusal of his marriage proposal. Telling Catherine and her parents the story, she expressed her sympathy, whereupon Blake asked her, "Do you pity me?" To Catherine's affirmative response he himself responded, "Then I love you." Blake married Catherine – who was five years his junior – on 18 August 1782 in St. Mary's Church, Battersea. Illiterate, Catherine signed her wedding contract with an 'X'. Later, in addition to teaching Catherine to read and write, Blake trained her as an engraver; throughout his life she would prove an invaluable aid to him, helping to print his illuminated works and maintaining his spirits throughout numerous misfortunes.
At this time, George Cumberland, one of the founders of the National Gallery became an admirer of Blake's work. Blake's first collection of poems, Poetical Sketches, was published around 1783. After his father's death, William and his brother Robert opened a print shop in 1784, and began working with radical publisher Joseph Johnson. At Johnson's house he met some of the leading intellectual dissidents of the time in England: Joseph Priestley, scientist; Richard Price, philosopher; John Henry Fuseli; Mary Wollstonecraft, an early feminist; and Thomas Paine, American revolutionary. Along with William Wordsworth and William Godwin, Blake had great hopes for the American and French revolution and wore a red liberty cap in solidarity with the French revolutionaries, but despaired with the rise of Robespierre and the Reign of Terror in the French revolution.
Mary Wollstonecraft became a close friend, and Blake illustrated her Original Stories from Real Life (1788). They shared views on sexual equality and the institution of marriage. In 1793's Visions of the Daughters of Albion, Blake condemned the cruel absurdity of enforced chastity and marriage without love and defended the right of women to complete self-fulfillment.
In 1788, at the age of 31, Blake began to experiment with relief etching, a method he would use to produce most of his books of poems. The process is also referred to as illuminated printing, and final products as illuminated books or prints. Illuminated printing involved writing the text of the poems on copper plates with pens and brushes, using an acid-resistant medium. Illustrations could appear alongside words in the manner of earlier illuminated manuscripts. He then etched the plates in acid in order to dissolve away the untreated copper and leave the design standing. The pages printed from these plates then had to be hand-colored in water colors and stitched together to make up a volume. Blake used illuminated printing for most of his well-known works, including Songs of Innocence and Experience, The Book of Thel, The Marriage of Heaven and Hell, and Jerusalem.
By most accounts, Blake claimed to have learned this technique from his brother Robert, who had died in 1787 and appeared to Blake in visions.
Blake's "Newton" is a demonstration of his opposition to the "single-vision" of scientific materialism: The great philosopher-scientist is isolated in the depths of the ocean, his eyes (only one of which is visible) fixed on the compasses with which he draws on a scroll. He seems almost at one with the rocks upon which he sits (1795).
Later life and career
Blake's "A Negro Hung Alive by the Ribs to a Gallows"
Blake's marriage to Catherine remained a close and devoted one until his death. There were early problems, however, such as Catherine's illiteracy and the couple's failure to produce children. At one point, in accordance with the beliefs of the Swedenborgian Society, Blake suggested bringing in a concubine. Catherine was distressed at the idea, and Blake promptly withdrew it.
Around the year 1800 Blake moved to a cottage at Felpham in Sussex (now West Sussex) to take up a job illustrating the works of William Hayley, a poet. It was in this cottage that Blake wrote Milton: a Poem (published between 1805 and 1808). Over time, Blake came to resent his new patron, coming to believe that Hayley was not paying as well as he could afford to pay.
Blake returned to London in 1802 and began to write and illustrate Jerusalem (1804–1820). He was introduced by George Cumberland to a young artist named John Linnell. Through Linnell he met Samuel Palmer, who belonged to a group of artists who called themselves the Shoreham Ancients. This group shared Blake's rejection of modern trends and his belief in a spiritual and artistic New Age. At the age of 65 Blake began work on illustrations for the Book of Job. These works were later admired by John Ruskin, who compared Blake favourably to Rembrandt.
Blake abhorred slavery and believed in racial and sexual equality. Several of his poems and paintings express a notion of universal humanity: "As all men are alike (tho' infinitely various)". He retained an active interest in social and political events for all his life, but was often forced to resort to cloaking social idealism and political statements in Protestant mystical allegory.
He rejected all forms of imposed authority; indeed, he was charged with assault and uttering seditious and treasonable expressions against the King in 1803, though he later was cleared in the Chichester assizes of the charges. The charges were brought by a soldier after Blake had bodily removed him from his garden, apparently exclaiming, "Damn the king. The soldiers are all slaves." According to a report in the Sussex county paper, "The invented character of [the evidence] was ... so obvious that an acquittal resulted." .
Blake's views on what he saw as oppression and restriction of rightful freedom extended to the Church. His spiritual beliefs are evidenced in Songs of Experience (in 1794), in which he shows his own distinction between the Old Testament God, whose restrictions he rejected, and the New Testament God (Jesus Christ), whom he saw as a positive influence.
Later in his life Blake began to sell a great number of his works, particularly his Bible illustrations, to Thomas Butts, a patron who saw Blake more as a friend than a man whose work held artistic merit; this was typical of the opinions held of Blake throughout his life.
Portrait of William Blake drawn by John Linnell (1820)
The commission for Dante's Inferno came to Blake in 1826 through Linnell, with the ultimate aim of producing a series of engravings. However, Blake's death in 1827 would cut short the enterprise, and only a handful of the watercolours were completed, with only seven of the engravings arriving at proof form. Even so, they have evinced praise:
- '[T]he Dante watercolors are among Blake's richest achievements, engaging fully with the problem of illustrating a poem of this complexity. The mastery of watercolour has reached an even higher level than before, and is used to extraordinary effect in differentiating the atmosphere of the three states of being in the poem'.(David Bindman, "Blake as a Painter" in The Cambridge Guide to William Blake, Morris Eaves (ed.), Cambridge, 2003, p. 106)
Blake's illustrations of the poem are not merely accompanying works, but rather seem to critically revise, or furnish commentary on, certain spiritual or moral aspects of the text. In illustrating Paradise Lost, for instance, Blake seemed intent on revising Milton's focus on Satan as the central figure of the epic; for example, in Satan Watching the Endearments of Adam and Eve (1808) Satan occupies an isolated position at the picture's top, with Adam and Eve centered below. As if to emphasise the effects of the juxtaposition, Blake has shown Adam and Eve caught in an embrace, whereas Satan may only onanistically caress the serpent, whose identity he is close to assuming.
In this instance, because the project was never completed, Blake's intent may itself be obscured. Some indicators, however, bolster the impression that Blake's illustrations in their totality would themselves take issue with the text they accompany: In the margin of Homer Bearing the Sword and His Companions, Blake notes, "Every thing in Dantes Comedia shews That for Tyrannical Purposes he has made This World the Foundation of All & the Goddess Nature & not the Holy Ghost." Blake seems to dissent from Dante's admiration of the poetic works of the ancient Greeks, and from the apparent glee with which Dante allots punishments in Hell (as evidenced by the grim humour of the cantos).
At the same time, Blake shared Dante's distrust of materialism and the corruptive nature of power, and clearly relished the opportunity to represent the atmosphere and imagery of Dante's work pictorially. Even as he seemed to near death, Blake's central preoccupation was his feverish work on the illustrations to Dante's Inferno; he is said to have spent one of the very last shillings he possessed on a pencil to continue sketching.(Blake Records, 341)
On the day of his death, Blake worked relentlessly on his Dante series. Eventually, it is reported, he ceased working and turned to his wife, who was in tears by his bedside. Beholding her, Blake is said to have cried, "Stay Kate! Keep just as you are – I will draw your portrait – for you have ever been an angel to me." Having completed this portrait (now lost), Blake laid down his tools and began to sing hymns and verses.(Ackroyd, Blake, 389) At six that evening, after promising his wife that he would be with her always, Blake died. Gilchrist reports that a female lodger in the same house, present at his expiration, said, "I have been at the death, not of a man, but of a blessed angel."(Gilchrist, The Life of William Blake, London, 1863, 405)
Monument near Blake's unmarked grave in London
George Richmond gives the following account of Blake's death in a letter to Samuel Palmer:
- He died ... in a most glorious manner. He said He was going to that Country he had all His life wished to see & expressed Himself Happy, hoping for Salvation through Jesus Christ - Just before he died His Countenance became fair. His eyes Brighten'd and he burst out Singing of the things he saw in Heaven.(Grigson, Samuel Palmer, p. 38)
Catherine paid for Blake's funeral with money lent to her by Linnell. He was buried five days after his death – on the eve of his forty-fifth wedding anniversary – at Dissenter's burial ground in Bunhill Fields, where his parents were also interred. Present at the ceremonies were Catherine, Edward Calvert, George Richmond, Frederick Tatham and John Linnell.
Following Blake's death, Catherine moved into Tatham's house as a housekeeper. During this period, she believed she was regularly visited by Blake, despite his having died. She continued selling his illuminated works and paintings, but would entertain no business transaction without first "consulting Mr. Blake".(Ackroyd, Blake, 390) On the day of her own death, in October 1831, she was as calm and cheerful as her husband, and called out to him "as if he were only in the next room, to say she was coming to him, and it would not be long now".(Blake Records, p. 410)
Upon her death, Blake's manuscripts were inherited by Frederick Tatham, who is rumored to have burned several of them in a fit of religious ardor. Tatham had become an Irvingite, one of the many fundamentalist movements of the 19th century, and was severely opposed to any work that smacked of blasphemy.(Ackroyd, Blake, p. 391)
Blake is now recognised as a saint in the Ecclesia Gnostica Catholica. The Blake Prize for Religious Art was established in his honour in Australia in 1949.
In 1957 a memorial was erected in Westminster Abbey, in memory of him and his wife.
Blake may have played a critical role in the modern Western World's conception of imagination. His belief that humanity could overcome the limitations of its five senses is perhaps Blake's greatest legacy: "If the doors of perception were cleansed, every thing would appear to man as it is, infinite."(The Marriage of Heaven and Hell) While his perspective was once perceived as merely aberrant, it now seems to have been incorporated into the modern definition of the term.
In particular, his reference to "the doors of perception" resonated demonstrably in the literature and music of the 20th century, as both Jim Morrison's band The Doors and Aldous Huxley's book The Doors of Perception pay homage to Blake's sentiment.
- c.1788: All Religions Are One
- There Is No Natural Religion
- 1789: Songs of Innocence
- 1790–1793: The Marriage of Heaven and Hell
- 1793: Visions of the Daughters of Albion
- 1794: Europe: a Prophecy
- The First Book of Urizen
- Songs of Experience
- 1795: The Book of Los
- The Song of Los
- The Book of Ahania
- c.1804–c.1811: Milton: a Poem
- 1804–1820: Jerusalem: The Emanation of The Giant Albion
- An Island in the Moon (1784)
- Never seek to tell thy love
- Tiriel (circa 1789)
Illustrated by Blake
- 1788: Mary Wollstonecraft, Original Stories from Real Life
- 1797: Edward Young, Night Thoughts
- 1805-1808: Robert Blair, The Grave
- 1808: John Milton, Paradise Lost
- 1819-1820: John Varley, Visionary Heads
- 1821: R.J. Thornton, Virgil
- 1823-1826: The Book of Job
- 1825-1827: Dante, The Divine Comedy (Blake died in 1827 with these watercolours still unfinished)
- Peter Ackroyd (1995). Blake. Sinclair-Stevenson. ISBN 1-85619-278-4.
- Donald Ault (1974). Visionary Physics: Blake's Response to Newton. University of Chicago. ISBN 0-226-03225-6.
- G.E. Bentley Jr. (2001). The Stranger From Paradise: A Biography of William Blake. Yale University Press. ISBN 0-300-08939-2.
- Jacob Bronowski (1972). William Blake and the Age of Revolution. Routledge and K. Paul. ISBN 0-7100-7277-5 (hardcover) ISBN 0-7100-7278-3 (pbk.)
- ――― (1967). William Blake, 1757-1827; a man without a mask. Haskell House Publishers.
- G.K. Chesterton (1920s). William Blake. House of Stratus ISBN 0-7551-0032-8.
- S. Foster Damon (1979). A Blake Dictionary. Shambhala. ISBN 0-394-73688-5.
- David V. Erdman (1977). Blake: Prophet Against Empire: A Poet's Interpretation of the History of His Own Times. Princeton University Press. ISBN 0-486-26719-9.
- Irving Fiske (1951). "Bernard Shaw's Debt to William Blake." (Shaw Society)
- Northrop Frye (1947). Fearful Symmetry. Princeton Univ Press. ISBN 0-691-06165-3.
- Alexander Gilchrist, Life and Works of William Blake, (second edition, London, 1880)
- James King (1991). William Blake: His Life. St. Martin's Press. ISBN 0-312-07572-3.
- Dr. Malkin (1806). A Father's Memories of his Child.
- Peter Marshall (1988). William Blake: Visionary Anarchist ISBN 090038477
- W.J.T. Mitchell (1978). Blake's Composite Art: A Study of the Illuminated Poetry. Yale University Press. ISBN 0-691-01402-7.
- Victor N. Paananens (1996). William Blake. Twayne Publishers. ISBN 0-8057-7053-4.
- George Anthony Rosso Jr. (1993). Blake's Prophetic Workshop: A Study of The Four Zoas. Associated University Presses. ISBN 0-8387-5240-3.
- Sheila A. Spector (2001). "Wonders Divine": the development of Blake's Kabbalistic myth, (Bucknell UP)
- Algernon Swinburne, William Blake: A Critical Essay, (London, 1868)
- E.P. Thompson (1993). Witness against the Beast. Cambridge University Press. ISBN 0-521-22515-9.
- W. M. Rosetti (editor), Poetical Works of William Blake, (London, 1874)
- A. G. B. Russell (1912). Engravings of William Blake.
- Basil de Sélincourt, William Blake, (London, 1909)
- Joseph Viscomi (1993). Blake and the Idea of the Book, (Princeton UP). ISBN 0-691-06962-X.
- David Weir (2003). Brahma in the West: William Blake and the Oriental Rennaissance, (SUNY Press)
- Jason Whittaker (1999). William Blake and the Myths of Britain, (Macmillan)
- W. B. Yeats (1903). Ideas of Good and Evil. Contains essays.
- ^ Jones, Jonathan (2005-04-25). Blake's heaven. The Guardian.
- ^ Kazin, Alfred (1997). An Introduction to William Blake. Retrieved on 2006-09-23.
- ^ Raine, Kathleen (1970). World of Art: William Blake. Thames & Hudson. ISBN 0-500-20107-2.
- ^ Bentley, Gerald (1969). Blake Record. Oxford, p543. ISBN 0-415-13441-2.
- ^ Erdman, David V. The Complete Poetry and Prose of William Blake, 2nd edition, p641. ISBN 0-385-15213-2.
- ^ The Gothic Life of William Blake: 1757-1827. Lilith Gallery of Toronto.
- ^ Lucas, E.V. (1904). Highways and byways in Sussex. Macmillan. ASIN B-0008-5GBS-C.
- ^ Tate UK. William Blake's London. Retrieved on 2006-08-26.
- This article incorporates public domain text from: Cousin, John William (1910). A Short Biographical Dictionary of English Literature London, J.M. Dent & sons; New York, E.P. Dutton.
- Peter Marshall. William Blake: Visionary Anarchist (1988) <a class="internal" href="http://en.wikipedia.org/w/index.php?title=Special:Book