William Blake
@williamblake.bsky.social
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English poet, painter, and printmaker, 1757-1827. // #artbot made thanks to @andreitr.bsky.social and @botfrens.bsky.social
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williamblake.bsky.social
The Book of Job: Pl. 9, Then a Spirit passed before my face / the hair of my flesh stood up https://clevelandart.org/art/1963.303.10
The Book of Job:  Pl. 9, Then a Spirit passed before my face / the hair of my flesh stood up
williamblake.bsky.social
The Book of Job: Pl. 10, The just upright man is laughted to scorn https://clevelandart.org/art/1966.397
The Book of Job:  Pl. 10,  The just upright man is laughted to scorn
williamblake.bsky.social
The Book of Job: Pl. 13, Then the Lord answered Job out of the Whirlwind https://clevelandart.org/art/1968.260.n
The Book of Job:  Pl. 13, Then the Lord answered Job out of the Whirlwind
williamblake.bsky.social
When the Almighty was yet with me, When my Children were about me https://collections.artsmia.org/art/46422/
God is Job's own ideal and bears a resemblance to Job. This God reigns supreme with the book of Law open in his lap. Being Job's ideal, he can claim that Job is perfect. Satan the Accuser appears before the Lord. Job questions his own piety. The two dim faces beneath the arms of Satan are the shadowy error of Job and his wife. Although angels cast scrolls listing Job's good deeds, until that error is given definite form, it cannot be recognized and cast out. Although Job tried to raise his children properly he knows that his sons feasted nightly and cursed God. Yet Job does not want to know how they are really acting and turns his back on his oldest son who sits with his mistress and their baby. His son lives his life according to his own instincts-the natural reaction of children against the perfection of a stern father. The vignette in the margins reinforces the idea of the illustration. Below to the right and left are Job and his wife still in the pastoral state of innocence. But above them respectively to the right are the parrot of vain repetitions and to the left the peacock of pride.
williamblake.bsky.social
The Pastorals of Virgil, Eclogue I: The Blasted Tree https://clevelandart.org/art/1934.145
In 1820, Blake was commissioned to illustrate a new edition of The Pastorals of Virgil, published as a school text, which included commentary by Dr. Robert John Thornton on the famous poem from the 1st century BC. Blake’s seventeen wood engravings became tremendously influential to the Ancients. Samuel Palmer (also in this gallery) wrote of these wood engravings: "They are visions of little dells, and nooks, and corners of Paradise; models of the exquisitest [sic] pitch of intense poetry... There is in all such a mystic and dreamy glimmer as penetrates and kindles the inmost [sic] soul." Despite Palmer’s poetic description, Blake’s wood engravings were not images of an unchanging paradise. Instead, they record an evershifting and often ambiguous relationship between the artist and his environment. They describe a landscape of Blake’s imagination---a wellspring of dreams and artistic inspiration, yet simultaneously a land of doubts and shadows, sweet delusions and unformed hopes.
williamblake.bsky.social
The Minotaur (from Dante's "Divine Comedy"); verso: possible sketch for "The Devils Under the Bridge" https://www.harvardartmuseums.org/collections/object/297950
Harvard Art Museums/Fogg Museum, Bequest of Grenville L. Winthrop