William Blake

Rating:
Summary: Brilliantly enlarged pictures, much variety
Review: I used to buy art books only from bargain shelves and tables, sometimes from bookstores that were only selling bargain books. Amazon.com has both varieties of books, and it would be unfair for me to review one book when I really think you should buy the other (bargain) variety. There should not be much confusion between two 304 page books with the title WILLIAM BLAKE when the books are actually the same, but the contents are of such variety, listing Peter Ackroyd, Marilyn Butler, Robin Hamlyn, and Michael Phillips as authors of the exhibition guide for the exhibition at Tate Britain, London, 9 November 2000 - 11 February 2001, and the Metropolitan Museum of Art, New York, 29 March - 24 June 2001, so it might be possible for someone who was looking to see if the listing in two places was identical to discover differences in the information given, though I believe both books are published in 2001 by Harry N. Abrams, Incorporated, New York (Printed and bound in Great Britain).

If you just want pictures, some of which seem quite large, this book has 250 illustrations, including 240 plates in full color. If you like descriptions of pictures, you might find yourself jumping around in the book. A large picture on page 10 is labeled: `Opposite: `Newton' 1795/c. 1805 (no. 249, detail) on page 11. After the Index on pages 296-298 is a Checklist of Works Exhibited at the Metropolitan Museum of Art on pages 299-304 provide a variety of numbers, including a catalogue number in brackets as follows:

129 [249] Newton 1795/c. 1805 Color print finished in pen and ink and watercolor 46 x 60 (18 1/8 x 23 5/8) on paper approx. 54.5 x 76 (21 1/2 x 30) Tate; presented by W. Graham Robertson 1939

The full picture is shown on page 213 with a tiny number 249 in the corner by the top margin and a description on page 212 that includes more information than above about "Signed `1795 WB inv [in monogram]' and the inscription. It is possible that the detail page 10 is about full size, showing the lower 30 cm. of a picture that is 46 cm. tall. Catalogue number 248, Sketch for Newton c. 1795 described on page 212 as being on a paper slightly smaller than standard typing paper, might not appear in this book at all. Turning back the page from 212 to pages 210-211 reveals a gigantic crawling Nebuchadnezzar 1795/c. 1805 (no. 247, detail) which is a 30 x 46 cm. (almost 12 inch by 18 inch) enlargement of less than half of a picture that was even larger 44.6 x 62 (17 5/8 x 24 3/8) originally. Pages 210-211 is almost lifesize, with a nose 2 inches long and 5 inches from the bottom of Nebuchadnezzar's lower lip to the part in his hair just above his forehead.

It is difficult to tell how many numbered pictures are not in this book. The final catalogue number 303 described as `Jerusalem. The Emanation of the Giant Albion 1804 - c. 1820' on page 282 is a general reference used to cover paintings of Jerusalem plate 97 (detail) (p. 283), Plate 1 (p. 284), Plate 2 (p. 285), Plates 3, 4, 9, and 11 (p. 287), Plate 12, Plate 26 (p. 289), Plates 51, 69, 70, 84 (p. 291), Plates 92, 97, 99 (p. 293), and pages describing these 15 plates describe 7 plates from Jerusalem that are not shown.

People who are interested in reading interpretations of Blake's works will find a sponsor's forward by Stephen Deuchar on page 7, Acknowledgements and Preface by Robin Hamlyn, Christine Riding and Elizabeth Barker on pages 8-9, `William Blake: The Man' by Peter Ackroyd on pages 11-13, `Blake in His Time' by Marilyn Butler on pages 15-25, a Chronology on pages 26-28 and initials of 10 individuals indicating other authorship on page 29.

`One of the Gothic Artists' on pages 32-97 describes items up to catalogue number 96, `The Queen of Heaven in Glory.' `The Furnace of Lambeth's Vale' on pages 100-171 starts with a description of Blake's Printmaking Studio and various techniques, including a detail on page 111 shown more than 5 times the original size of the small print no. 107 There is No Natural Religion 1788/1795 Copy L shown on page 110. There is in this part a political section called "Lambeth and the Terror" on pages 152-167 which mention items of `Rex vs. Blake' catalogue numbers 208 through 210, items that are not shown. Perhaps we learn more by merely seeing no. 212, The Accusers c. 1804 Copy E on page 167, "A Scene in the Last Judgment."

Pictures are generally clear enough for the lettering by William Blake to be legible, where it is not too small, but pages have been selected without regard to the continuity of the original text. For example, Blake's comments on Swedenborg in his book THE MARRIAGE OF HEAVEN AND HELL, Catalogue no. 127, pages 132-135, include Plate 21 and Plate 24 but not the pages between to and from which the thoughts carry over.

`Chambers of the Imagination' on pages 174-257 includes items numbered from 219 to 297 The Ancient of Days 1824? `Many Formidable Works' on pages 258-293 concludes with many plates from a few of Blake's works. No. 298 Plate 42 `The Tyger' on page 269 (upper left) is lightly colored, "Shown in profile beneath the pale blue bark of a tree trunk," (p. 268) while no. 163 Plate 42 Copy G c. 1793-1794 on page 155 shows a tree and tyger with much darker colors.

Anyone who plans to enjoy looking at the pictures more than anything else could start with this book. People who seriously study WILLIAM BLAKE must have their own reasons. Because his writings cover so much, most people could gain some knowledge of bits and pieces from a work like this.

Rating:
Summary: Beautiful Art
Review: The works of Blake are represented here on wonderful gloss paper with large images to fully appreciate the artistic genius of William Blake. This book is also intersperesed with essays that explain his life, his writing, and his art. through his various images you can see his complex and troubled life come into view. A must have for anyone who loves Blake and Extremely helpful for anyone who wants to know him and his work.