Over the last two decades, scholars and collectors have been blessed with a remarkable series of discoveries of unrecorded or long-lost works by Blake. If this record has led us to expect new treasures almost every year, 2011 did not disappoint. By early February I learned that Bonhams in London would offer an unrecorded copy of Blake’s Poetical Sketches (1783) in its 22 March auction. This adds one more copy to the twenty-three previously traced and is only the third remaining in private hands. A person representing a descendant of Charles Augustus Tulk (1786-1849), the Swedenborgian friend of Blake and John Flaxman, contacted me in March about an album of drawings owned, and probably assembled, by Tulk’s daughter Louisa Susanna in the first half of the nineteenth century. Several British Blake scholars inspected the album and found in it a watercolor and a pencil drawing definitely attributable to Blake and a pen and ink drawing probably from his hand. The watercolor and pencil drawing bear sketches by Blake on their versos. The collection also includes several drawings by Flaxman. On the basis of digital images supplied by the Tulk family’s representative, I’m confident that these attributions are correct. None of these materials has been previously recorded. The disposition of this important discovery is still pending as of January 2012.
在过去的二十年里，学者和收藏家们有幸发现了一系列未被记录或失传已久的布莱克作品。如果这个记录让我们期待几乎每年都有新的宝藏，那么2011年没有让我们失望。2月初，我得知伦敦宝龙拍卖行(Bonhams)将在3月22日的拍卖会上提供一幅布莱克的《诗性素描》(Poetical Sketches, 1783)的未录副本。这在之前追踪到的23份副本上又增加了一份，也是私人手中仅存的第三份。查尔斯·奥古斯都·图尔克(Charles Augustus Tulk, 1786-1849)是布莱克和约翰·弗莱克斯曼(John Flaxman)的斯威登堡朋友。三月份，一位代表图尔克(Charles Augustus Tulk, 1786-1849)后代的人联系了我，说他有一本画册，可能是由图尔克的女儿路易莎·苏珊娜(Louisa Susanna)在19世纪上半叶收藏的。几位英国布莱克学者检查了这本画册，在里面发现了一幅水彩画和一幅铅笔画，肯定是布莱克的作品，还有一幅可能是他亲手画的水墨画。水彩画和铅笔画上有布莱克的草图。该系列还包括Flaxman的几幅画作。根据图尔克家族代表提供的数字图像，我相信这些归因是正确的。这些材料以前都没有记录。截至2012年1月，这一重要发现的处置仍悬而未决。
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Wayne C. Ripley, Fernando Castanedo, Hikari Sato, Hüseyin Alhas, Vera V. Serdechnaia
My deep thanks as always to my kind and generous collaborators, whose contributions reveal William Blake’s truly global reach. As will be seen, this was a central concern of much of the scholarship produced over the last year. They have provided the annotations to entries from their respective areas.
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The exhibition at the Morgan Library and Museum of William Blake’s World: “A New Heaven Is Begun” (Sept. 2009-Jan. 2010) provided an opportunity to examine closely Blake’s Hebrew calligraphy. Three works in the exhibition contain errors in forming Hebrew characters; some are deliberate to create clever visual illusions.
{"title":"Blake’s Hebrew Calligraphy","authors":"Abraham Samuel Shiff","doi":"10.47761/biq.101","DOIUrl":"https://doi.org/10.47761/biq.101","url":null,"abstract":"The exhibition at the Morgan Library and Museum of William Blake’s World: “A New Heaven Is Begun” (Sept. 2009-Jan. 2010) provided an opportunity to examine closely Blake’s Hebrew calligraphy. Three works in the exhibition contain errors in forming Hebrew characters; some are deliberate to create clever visual illusions.","PeriodicalId":39620,"journal":{"name":"Blake - An Illustrated Quarterly","volume":"10 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-05-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84300832","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Adam Komisaruk examines “the varieties of erotic experience in an age of revolution” (1), covering British writings from c. 1780 to 1830. He posits an overriding theme of the relation between “sexual privatism” and “the public sphere,” and he cites most of the theorists (Habermas, Derrida, Foucault, Lacan, Laqueur, Sedgwick, etc.) whose ideas have long dominated such discourse. He organizes his study “according to some different sexual ‘publics’ in the period: legal treatments of rape, sodomy and adultery; high-profile sex scandal; population theory; and club culture” (7). While a large part of his narration focuses on these modern theoreticians, he also includes thematic readings of imaginative literature by Mary Hays, William Beckford, Mary Wollstonecraft, William Godwin, Percy Bysshe Shelley, Erasmus Darwin, and finally William Blake.
Adam Komisaruk考察了“革命时代的各种情爱体验”(1)，涵盖了大约1780年至1830年的英国作品。他提出了“性隐私主义”和“公共领域”之间关系的首要主题，并引用了大多数理论家(哈贝马斯、德里达、福柯、拉康、拉克尔、塞奇威克等)的观点，这些理论家的观点长期主导着这种论述。他“根据那个时期的一些不同的性‘公众’来组织他的研究:强奸、鸡奸和通奸的法律处理;备受瞩目的性丑闻;人口理论;(7)虽然他的大部分叙述集中在这些现代理论家身上，但他也包括玛丽·海斯、威廉·贝克福德、玛丽·沃斯通克拉夫特、威廉·戈德温、珀西·比希·雪莱、伊拉斯谟·达尔文和威廉·布莱克的想象文学的主题阅读。
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This essay introduces a novel method for assigning the incidence of Klüver form-constants, one type of visual hallucination, to their occurrence in Blake’s visual art. It also outlines a specific neurophysiology for some of the events that Blake referred to as “visions.” In short, I will argue that Blake’s paintings, including the designs in the illuminated books, suggest that he experienced Klüver form-constant visual hallucinations beginning no later than 1793 and possibly as early as c. 1780. These entoptic percepts were first described and classified in 1926 by the biological psychologist Heinrich Klüver (1897–1979). Klüver form-constants have neural correlates. They would have appeared to Blake, with his eyes open or closed, as self-luminous geometric patterns on his retina. Their distinctive geometric patterns enable the identification of their presence in Blake’s art and allow an association to be made between their occurrence and the origins of his creative processes. Form-constants were one of several visual and auditory phenomena he called “visions.” The methodology employed here, when used in conjunction with Martin Butlin’s catalogue raisonné and other scholarship on the materiality of Blake’s art, holds out the potential of charting the incidence, prevalence, and distribution of this specific type of “visionary” creative origin in Blake’s artistic output. It offers the possibility of disaggregating the neural basis of Blake’s “visions” and analyzing their individual phenomenological characteristics.
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The Blake market, almost dormant in 2020, sprang to life early in 2021 with the appearance of Blake’s drawing The Death of Ezekiel’s Wife in Sotheby’s New York sale of Old Master Drawings on 27 January. The estimate of $80,000-$120,000 undervalued one of Blake’s most important monochrome wash drawings remaining in private hands. Bidding paused for half a minute at the low estimate. As the auctioneer was about to knock down the lot, another bidder jumped in. Two combatants drove the drawing to a hammer price of $230,000-$289,800 including the buyer’s premium charged by the house. I believe that this is an auction record for an uncolored drawing by Blake, and a record for one of his pictures in any medium datable to the 1780s. I have not been able to discover the identity of the new owner, but I suspect a private collector. Has Bono struck again?
布莱克市场在2020年几乎处于沉寂状态，但在2021年初，随着布莱克的画作《以西结的妻子之死》(The Death of Ezekiel’s Wife)在1月27日苏富比(Sotheby’s)纽约早期大师画作拍卖会上亮相，市场开始活跃起来。8万至12万美元的估价低估了布莱克仍在私人手中的最重要的单色水墨画之一。竞拍在最低估价时停顿了半分钟。就在拍卖师准备拍下拍卖品时，另一位竞标者跳了进来。两名竞标者将拍卖价推至23万至28.98万美元，其中包括房屋收取的买方佣金。我相信这是布莱克的一幅无色画的拍卖记录，也是他自18世纪80年代以来任何一种媒介的作品的拍卖记录。我还没能发现新主人的身份，但我怀疑是个私人收藏家。波诺又来了吗?
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We seem to be living in a golden age of scholarship on Blake’s reception, and Linda Freedman’s William Blake and the Myth of America is a welcome addition to this critical canon. As Freedman notes, the recent scholarly antecedents of her study include the collections Blake 2.0: William Blake in Twentieth-Century Art, Music and Culture (ed. Steve Clark, Tristanne Connolly, and Jason Whittaker, 2012), Blake, Modernity and Popular Culture (ed. Clark and Whittaker, 2007), and The Reception of Blake in the Orient (ed. Clark and Masashi Suzuki, 2006), as well as Colin Trodd’s monograph Visions of Blake: William Blake in the Art World, 1830–1930 (2012) and Edward Larrissy’s Blake and Modern Literature (2006). Freedman’s book, which benefits from sixteen color illustrations embedded throughout the text, also follows hot on the heels of the even more lavishly illustrated William Blake and the Age of Aquarius (ed. Stephen F. Eisenman, 2017). Yet, as she acknowledges, the contents of William Blake and the Myth of America connect it more specifically to William Blake and the Moderns, the 1982 collection edited by Robert J. Bertholf and Annette S. Levitt, which prepared the ground for the current crop of Blakean reception studies; figures from that book who reappear in Freedman’s monograph include Walt Whitman, Hart Crane, T. S. Eliot, Theodore Roethke, Robert Duncan, and Allen Ginsberg.
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Blake evidently read parts of The Botanic Garden by Erasmus Darwin, grandfather of Charles, and certainly helped to illustrate it. The most striking verbal and pictorial responses in Blake are found in the Songs, The Book of Thel, and other early works, but if we count faint echoes of Darwin’s peculiar hybrid of natural science and poetry, his influence can be detected even in late projects, like Jerusalem. In Blake’s distinctive appropriative procedure, images were often derived from verbal sources and vice versa, as in the title page of Thel, in which he draws on Darwin’s Ovid-based account of the apparent sexual destruction of Anemone, the windflower, by Zephyr, the west wind.
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In “‘The Most Obscure and Most Angelic of All the English Lyrical Poets,’” my essay for The Reception of William Blake in Europe, I dealt with the works of one contemporary artist from Croatia—Zdenka Pozaić—and two from Serbia—Simonida Rajčević and Aleksandra M. Jovanić—who were influenced by Blake. Pozaić (b. 1940) is a graphic artist who in 2003 created The Crystal Cabinet, an artist’s book based on a Croatian translation of Blake’s poem of the same name. Rajčević (b. 1974) is an artist specializing in drawings who in 2010 used two works by Blake—“The Ancient of Daysˮ and Nebuchadnezzar—as part of an atmospheric installation titled Tamna zvezda (Dark Star), which also included quotations from Blake and other artists. Finally, Jovanić (b. 1976), a digital artist, in 2011 created an internet-based form centered upon a Serbian translation of “A Poison Tree.ˮ Each project, although different, reflected Blake’s practice of combining text and image. While my previous essay describes the works, relates their characteristics, and explains which of Blake’s works these artists were influenced by, this article approaches the subject from another perspective; it tries to answer how the artists first perceived Blake, how each of them understood him, and in what way the figure of Blake guided them.
在“所有英国抒情诗人中最晦涩和最天使般的”，我在欧洲接受威廉布莱克的文章中，我处理了一位来自克罗地亚的当代艺术家Zdenka pozaiki和两位来自塞尔维亚的艺术家Simonida raj eviki和Aleksandra M. jovaniki的作品，他们都受到布莱克的影响。波扎伊奇(生于1940年)是一位平面艺术家，他在2003年创作了《水晶橱柜》，这是一本基于克罗地亚语翻译的布莱克同名诗歌的艺术家书籍。raj eviki(出生于1974年)是一位专门从事绘画的艺术家，他在2010年使用了布莱克的两件作品-“古代的天”和“尼布甲尼撒”-作为一个名为“Tamna zvezda”(黑暗之星)的大气装置的一部分，其中还包括布莱克和其他艺术家的语录。最后，数字艺术家jovaniki(出生于1976年)于2011年以塞尔维亚语翻译的“一棵毒树”为中心创建了一个基于互联网的形式。每个项目虽然不同，但都体现了布莱克将文字与图像相结合的实践。虽然我之前的文章描述了这些作品，联系了他们的特点，并解释了这些艺术家受到布莱克的哪些作品的影响，但本文从另一个角度来探讨这个问题;它试图回答艺术家们最初是如何认识布莱克的，他们每个人是如何理解他的，以及布莱克的形象如何引导他们。
{"title":"“Re-mediatingˮ William Blake in Croatia and Serbia","authors":"Tanja Bakić","doi":"10.47761/biq.297","DOIUrl":"https://doi.org/10.47761/biq.297","url":null,"abstract":"In “‘The Most Obscure and Most Angelic of All the English Lyrical Poets,’” my essay for The Reception of William Blake in Europe, I dealt with the works of one contemporary artist from Croatia—Zdenka Pozaić—and two from Serbia—Simonida Rajčević and Aleksandra M. Jovanić—who were influenced by Blake. Pozaić (b. 1940) is a graphic artist who in 2003 created The Crystal Cabinet, an artist’s book based on a Croatian translation of Blake’s poem of the same name. Rajčević (b. 1974) is an artist specializing in drawings who in 2010 used two works by Blake—“The Ancient of Daysˮ and Nebuchadnezzar—as part of an atmospheric installation titled Tamna zvezda (Dark Star), which also included quotations from Blake and other artists. Finally, Jovanić (b. 1976), a digital artist, in 2011 created an internet-based form centered upon a Serbian translation of “A Poison Tree.ˮ Each project, although different, reflected Blake’s practice of combining text and image. While my previous essay describes the works, relates their characteristics, and explains which of Blake’s works these artists were influenced by, this article approaches the subject from another perspective; it tries to answer how the artists first perceived Blake, how each of them understood him, and in what way the figure of Blake guided them.","PeriodicalId":39620,"journal":{"name":"Blake - An Illustrated Quarterly","volume":"25 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84062541","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
When Ludwig Meidner (1884–1966), the German-Jewish expressionist painter, printmaker, and writer, returned to Germany in 1953, he took what he could carry: personal belongings, books, and images, his prints, drawings, paintings, and watercolors. Refugees face difficult choices; they can take only what is absolutely necessary. Meidner never adjusted during the fourteen years of exile and there is a sense that he wanted to eradicate all that reminded him of London—except for Blake. Thomas Grochowiak, who first noted the significance of Meidner’s encounter with “the painter, poet, mystic William Blake” (“Maler-Dichter-Mystikers William Blake”), suggests that he identified with Blake’s adverse living conditions and artistic neglect, and argues that the occult aspects and especially the Visionary Heads interested him: “For him the preoccupation with Old Testament figures and prophets, with mystical philosophers or religious ecstatics, was just as natural as the everyday, familiar dealings with ghosts.” Meidner took not only John Piper’s British Romantic Artists (1942) and Ruthven Todd’s edition of Alexander Gilchrist’s Life of Blake (1942), but also reproductions of William Blake by Thomas Phillips, the large color print God Judging Adam (then known as Elijah About to Ascend in the Chariot of Fire), and James Deville’s life mask. These images were part of a selection that were to adorn his studio in Marxheim (1955–63), where he shared his art with a small number of visitors who came to pay tribute to the old master of German expressionism.
{"title":"“Blake was a phenomenon”: Artistic, Domestic, and Blakean Visions in Joseph Paul Hodin’s Writing on Else and Ludwig Meidner","authors":"S. Erle","doi":"10.47761/biq.305","DOIUrl":"https://doi.org/10.47761/biq.305","url":null,"abstract":"When Ludwig Meidner (1884–1966), the German-Jewish expressionist painter, printmaker, and writer, returned to Germany in 1953, he took what he could carry: personal belongings, books, and images, his prints, drawings, paintings, and watercolors. Refugees face difficult choices; they can take only what is absolutely necessary. Meidner never adjusted during the fourteen years of exile and there is a sense that he wanted to eradicate all that reminded him of London—except for Blake. Thomas Grochowiak, who first noted the significance of Meidner’s encounter with “the painter, poet, mystic William Blake” (“Maler-Dichter-Mystikers William Blake”), suggests that he identified with Blake’s adverse living conditions and artistic neglect, and argues that the occult aspects and especially the Visionary Heads interested him: “For him the preoccupation with Old Testament figures and prophets, with mystical philosophers or religious ecstatics, was just as natural as the everyday, familiar dealings with ghosts.” Meidner took not only John Piper’s British Romantic Artists (1942) and Ruthven Todd’s edition of Alexander Gilchrist’s Life of Blake (1942), but also reproductions of William Blake by Thomas Phillips, the large color print God Judging Adam (then known as Elijah About to Ascend in the Chariot of Fire), and James Deville’s life mask. These images were part of a selection that were to adorn his studio in Marxheim (1955–63), where he shared his art with a small number of visitors who came to pay tribute to the old master of German expressionism.","PeriodicalId":39620,"journal":{"name":"Blake - An Illustrated Quarterly","volume":"28 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87301680","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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