Publication: Shakespeare Water Color Illustrations

The William Blake Archive is pleased to announce the publication of a digital edition of Blake’s water color illustrations to...

"I again display my Giant forms to the Public": Q&A with Tate Britain

The Tate Blake exhibition closed its doors in February and the many works on display are presumably now all...

Publication: TO THE PUBLIC [Prospectus 1793]

The William Blake Archive is pleased to announce the publication of a digital edition of To the Public, dated “October...

Blake Quarterly (winter 2019-20)

Clicking the button that says “Publish” never gets old, and today I did that for our winter 2019-20 issue...

All Fun and Games

At the beginning of summer, my mom, who’s a sixth-grade English teacher, asked me to take her classes for...
Publications
Publication: Shakespeare Water Color Illustrations
Blake Quarterly
"I again display my Giant forms to the Public": Q&A with Tate Britain
Publications
Publication: TO THE PUBLIC [Prospectus 1793]
Blake Quarterly
Blake Quarterly (winter 2019-20)
BAND
All Fun and Games
Publications

Publication: TO THE PUBLIC [Prospectus 1793]

The William Blake Archive is pleased to announce the publication of a digital edition of To the Public, dated “October 10, 1793.” It first came to light in Gilchrist’s Life of Blake, 1863, where it was introduced with a brief heading that described “a characteristic Prospectus issued by Blake.” It had been transcribed from an “original…in engraved writing printed in blue on a single leaf about 11 x 7 ½ inches…obtained only at the last moment” from a “Mr. Frost”-perhaps William Edward Frost, a painter, member of the Royal Academy, and sometime collector of engravings by Blake’s friend Thomas Stothard (Bentley, Blake Books Supplement, page 142). Like several of Blake’s letters, then, his 1793 prospectus is known only from the transcription of unknowable accuracy from Gilchrist’s biography.

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BAND

All Fun and Games

At the beginning of summer, my mom, who’s a sixth-grade English teacher, asked me to take her classes for a day. Working with young kids is a little out of the ordinary for a grad student, but it seemed like a good way to get my feet wet with teaching composition on the horizon. Plus, getting a glimpse of the potential obstacles, needs, and interests of an eleven-year-old learner was bound to offer me a valuable perspective that I may not otherwise get.

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Publications

Publication: 19 Separate Plates

The William Blake Archive is pleased to announce the publication of nineteen separate prints designed and etched or engraved by Blake. The original works are housed in seven collections, including the Bodleian Library, British Museum, Robert N. Essick collection, Fitzwilliam Museum, Huntington Library, Art Collections, and Botanical Gardens, Museum of Fine Arts, Boston, and National Gallery of Art, Washington. These separate prints join two others, Deaths Door and George Cumberland’s Card, and four series of prints, all previously published, to complete this important category of Blake’s endeavors as a printmaker.

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Blake Quarterly

Blake and Bloom, a Memorial Note

This memorial note is by Kenneth Gross, who teaches English at the University of Rochester. His books include Spenserian Poetics: Idolatry, Iconoclasm, and Magic; The Dream of the Moving Statue; Shakespeare’s Noise; Shylock Is Shakespeare; and Puppet: An Essay on Uncanny Life. It will also appear in the winter issue of the Blake Quarterly.

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Blake’s Afterlife: Howard Finster, the Backwoods Blake

About one-hundred miles north of Atlanta, a colorful, otherworldly folk art environment stands in Summerville, Georgia. Self-taught artist Howard Finster (1916-2001) began work on his Paradise Garden in 1961, using materials such as glass, concrete, and discarded objects to create six sacred buildings. Today, the site remains as a monument to Finster’s prolific life, religious fervor, and distinctive artworks.

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BAND, Digital Humanities

Insights from a Doubly Digital Humanist

This semester I enrolled in a course entitled “Digital History: Historical Worlds, Virtual Worlds, Virtual Museums”— thoroughly intrigued by the course’s description which promised to teach me to “harness emerging technologies to educate the public about the past.” It seemed familiar, yet distant enough from my existing skill set to be rewarding.

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