Publication: URIZEN Copy J

The William Blake Archive is pleased to announce the publication of a digital edition of Blake’s The First Book...

Publication: A DESCRIPTIVE CATALOGUE

The William Blake Archive is pleased to announce the publication of A Descriptive Catalogue of Pictures, Poetical and Historical Inventions, Painted...

Tutorial Video: Introduction to Search

Did you know that the search function of the William Blake Archive is one of the most helpful features...

Blake Quarterly spring issue

Our spring issue, with another bumper crop of contributions, is out this week and, even better, open access for...

Publication: VISIONS Copy R; Misc. Plates & Impressions

The William Blake Archive is pleased to announce the publication of a digital edition of Blake’s Visions of the Daughters...
Publications
Publication: URIZEN Copy J
Publications
Publication: A DESCRIPTIVE CATALOGUE
BAND, Tutorial Videos
Tutorial Video: Introduction to Search
Blake Quarterly
Blake Quarterly spring issue
Publications
Publication: VISIONS Copy R; Misc. Plates & Impressions
Blake Quarterly

Blake in Sussex

Knowing how hard it is for me to put together a blog post with a couple of illustrations, I can’t imagine what it would be like to make a film. That’s why I spoke to Matt Wilmshurst, a London- and Sussex-based filmmaker and visual effects artist. He’s the writer and director of Blake in Sussex, currently in production, which promises to tell the tale of the Blakes’ turbulent three years outside London.

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BAND, Blake Quarterly

Serendipity and difficulty

Behind the scenes the indefatigable members of the Blake Archive are preparing a batch of separate plates for future publication. In general, I would define separate plates as plates not published as illustrations in books, such as “Chaucers Canterbury Pilgrims” and “Albion Rose.” Each plate may have several states, or stages of execution—”Albion Rose” has two, so we’ll publish an impression of each. Each state may exist in several impressions (prints made from that state).

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BATS

Over-reading Overwriting? A Textual Anomaly in Songs of Innocence, Copy Q

Last year, I traded my work with archived issues of Blake: An Illustrated Quarterly for new tasks in text and image markup of Blake’s illuminated books. Last month, I began writing markup “without a net,” as we say. With Katherine Calvin’s guidance, I am learning to describe individual watercolor drawings without recourse to a previous editor’s text. So, rather than thinking comparatively, I consider only the image at hand, and I have to familiarize myself more thoroughly with the body of search terms The Blake Archive uses to describe and tag images.

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BATS

Do you see what I see?

Under the skilled eye of Katherine Calvin, I have completed training on illustration markup. With her help, I have gained practice in the art of seeing and of describing what I see, without inserting my interpretations. My introduction to the process of using templates to reflect on the new (to me) plate and spot the differences–a skill set that I first developed reading Highlights magazines–went smoothly. As I learned the ropes, there was only one instance where I thought the template itself was wrong.

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Uncategorized

Urizen, Bound and Unbound

In previous posts on Hell’s Printing Press, I have explored the process of illustration markup and textual tagging at the WBA (see my earlier posts about textual tagging broadly and focused studies of tags like “streams of gore,” “lunging,” and “ecstasy”). In addition to tags related to objects, movements, and emotions, the WBA also aims to identify particular figures significant to Blake’s works and life. These include historical figures, such as Catherine Blake and George Romney; biblical characters including Potiphar and Job; and allegories like Mirth and Joy. However, one of the most important groups of tagged figures are characters created by Blake—from Oothoon and Los to Rintrah and Orc—who often recur throughout his poetry and designs.

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Blake Quarterly

“Rosenbach and Blake” (and Bentley)

This week we published our winter issue (vol. 51, no. 3), which will be completely open access for the next few days. It features the last article in our queue from the late Jerry Bentley, “Rosenbach and Blake,” about the numerous Blake works handled by the dealer A. S. W. Rosenbach in the first half of the twentieth century, many from the collection of W. A. White and many for the collection of Lessing J. Rosenwald (now in the Library of Congress and the National Gallery of Art, Washington, DC).

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Publications

Publication: VALA, or THE FOUR ZOAS

The William Blake Archive is pleased to announce the publication of a digital edition of Blake’s VALA, or The Four Zoas. This edition is based on fresh digital photography from the British Library and is presented in Preview mode—with enlargements and basic bibliographical information but without transcriptions or illustration descriptions.

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