Development of outlook of Blake

Biography

1.1 Training at the engraver

1.2 Royal Academy

1.3 Gordonsky mutinies

1.4 Marriage and beginning of the career

1.5 Relief print

1.6 Engravings

1.7 Felfam and return to London

1.8 Death

Development of outlook of Blake.

1.BIOGRAPHY

William Blake - the English poet and the artist. I was born on November 28, 1757 in London, near Soho, in the shopkeeper's family. He was the third of seven children two from which died even in infancy. William attended school only till ten years, having learned to write and read there only, and got an education at home — it was taught by mother. Parents were Protestants — dissenter from Moravian church and very religious people therefore all life had strong impact on Blake's outlook the Bible. Throughout all his life it will remain for it the main source of inspiration.

In the childhood Blake was fond of copying of the Greek plots from drawings which were got for it by the father. Raphael, Michelangelo, Marten van Hemsker and Albrecht Duerer's works imparted to it love to classical forms. Gradually this occupation developed into interest in painting. Parents, knowing hot temperament of the boy and regretting that it didn't go to school, alienate him on painting lessons. However, during these occupations Blake studied only that was interesting to him. Its early works show acquaintance to Ben Johnson and Edmund Spencer's creativity. Then he was fond also of poetry.

In 1772 Blake for 7 years was sent to the doctrine to the engraver James Bezir. There are no data on that during training between the teacher and the pupil there were any serious disagreements or the conflicts. By the end of training, in 21 year, Blake became the professional engraver.

In 1778 Blake came to Royal Academy of arts where proved the adherent of classical style of an era of the High Renaissance.

In 1782 Blake married Catherine Busher, uneducated, but very lovely girl who fell in love him at first sight. They lived together to Blake's death, and subsequently Catherine assured that she was visited regularly by spirit of the died husband. Catherine died in 1831. They had no children.

The first collection of verses of Blake, "Poetic sketches", appeared in 1783. Further the poet creates some "the illuminated manuscripts", with own hand engraving the verses and drawings on a copper board.

In 1784, having endured death of the father, Blake together with the brother Robert opened printing house and began to work with the publisher Joseph Johnson who was known for the radical ideas. Johnson's house was the meeting place of many "dissidents" of that time. Here Bleyk got acquainted with the poet William Wordsworth and was fond of ideas of the French revolutionaries. In 1789, from the beginning of the French Revolution, there was its collection of poems "Songs of Innocence", and in 1794 — the collection "Songs of Experience" poems from which were written already to the period of Jacobin terror and disappointment of the poet in Revolution.

William Blake on August 12, 1827, in the middle of the work on illustrations to "The divine comedy" died. His death was sudden and inexplicable.

Since 1965 exact location of a grave of Blake was lost and forgotten, and the gravestone was postponed for a new place.

During lifetime of Blake didn't gain any fame outside a narrow circle of admirers, but was "opened" after death by Pre-Raphaelites. I had considerable impact on the western culture of the XX century. The song "Jerusalem" on Blake's verses is considered the informal anthem of Great Britain. For the Russian reader of the poet Samuil Marshak who all life worked on the translations of his verses opened.

1.1 TRAINING AT THE ENGRAVER

On August 4, 1772 Blake arrived on 7 years' training in art of an engraving to the engraver James Besayer from Greyt Quinn Street. By the end of this term, by then, when he will be 21 years old, he had to become the professional engraver. But there was no achievement during training which wouldn't be followed by serious quarrel or the conflict between them. However the biographer Blake Peter Akroyd notes that later Blake will enter a name of Besayer in the list of the rivals in art, but will soon delete it. That style of an engraving of Besayer already at that time was considered old-fashioned was the reason for that, and training of his pupil in this way could affect not in the best way the skills acquired by it in this work, and also on future recognition. And Bleyk understood it.

On the third year of training Besayer sent Blake to London to copy picturesque frescos of Gothic churches (quite perhaps that this task was given to Blake to aggravate the conflict between it and James Parker, other pupil of Besayer). The experience got in operating time in Westminster Abbey promoted formation at Blake of his own art style and ideas. The Abbey of that time was decorated with a military armor and equipment, images of funeral memorial services, and also numerous waxworks. Akroyd notes that "the strongest impressions were made due to alternation of the bright paints appearing, as if disappearing". Blake spent long evenings behind sketches of Abbey. Once it was interrupted by children from Westminster school one of which so tortured Blake that that pushed off it with force from an executioner's block on the earth where it with an awful roar was tumbled down. Bleyk managed to see a lot more images in Abbey, for example a church procession with monks and priests during which singing of psalms and chorals was represented to it.

1.2 TRAINING IN ROYAL ACADEMY

On October 8, 1779 Blake became the student of Royal academy in Old Somerset Naus near the Strand. Though it wasn't required to pay for training, throughout 6-annual stay in academy Blake had to buy to himself accessories and tools. Here he revolts against calls "incomplete style of fashionable artists", such as Rubens who is so loved by the first president of school Joshua Reynolds. Passed time and Blake actually began to hate Reynolds's relation to art in general and in particular to its search of "uniform truth" and "classical understanding of beauty". Reynolds wrote in the Reasonings that "tendency to abstract vision of this or that subject, and also to generalization and classification — is triumph of human reason"; Blake, in marginal notes noted that "to generalize everything, "to adjust all alike", means to be the idiot; attention — point here that deserves each feature". Blake also didn't like the seeming, feigned modesty of Reynolds which considered hypocrisy. Blake preferred to works as oil of a brush of Reynolds fashionable at that time classical accuracy and clearness of the works of Michelangelo and Raphael which had impact on early works.

1.3 GORDONSKY MUTINIES

Record of the first biographer Blake Alexander Gilchrist about the case which happened in June, 1780 tells how passing by shop of Besayer on Greyt Quinn Street, Blake was nearly hit from feet by the enraged crowd which went to storm prison of Nyyugeyt in London. They attacked prison gate shovels and kirkomotyga, set fire to the building and released prisoners from prison. On attestations of eyewitnesses, Blake was crowds during attack in the forefront. Later this revolt, being reaction to the new parliamentary bill canceling sanctions against the Roman Catholicism received the name of Gordonsky mutinies. They also provoked unknown surge in emergence of a large number of laws and introduction by their government of George III, and also creation of protection of the state order, police.

Despite persistent belief of Gilchrist that Blake adjoined crowd forcedly, some biographers claimed that it allegedly joined crowd impulsively, or supported revolt as the revolutionary act. Jerome Makgann who claims holds other opinion that as mutinies were reactionary, they could cause in Blake only indignation.

1.4 MARRIAGE AND BEGINNING OF THE CAREER

In 1782 Blake meets John Fleksmen who will become his boss, and Catherine Bouchez who soon will become his wife. At this time Bleyk recovers from the relations which culmination was a refusal on the offer of a hand and heart. He in detail states this sad story to Catherine and her parents then asks the girl: "You feel sorry for me?". When Catherine answers in the affirmative, he admits: "Then I love you". William Bleyk and Catherine Bouchez who was 5 years younger than it, got married in Saint Maria's Church in Battersi. Being illiterate, Keterin instead of a list put a dagger of "X" in the marriage certficate.

The original of this document can be seen in church where during the period between 1976 — 1982 the memorable stained glass window was also established. Later, except training Keterin in reading and the letter, Blake trained her also in art of an engraving. Throughout all life he will understand, the help and support of this woman is how invaluable for him. Among uncountable failures Keterin won't allow to die away an inspiration flame in soul of the husband and, will also take part in the press of his numerous illustrations.

Approximately in the same time George Cumberland, one of founders of National Gallery, becomes the fan of works of Blake. The publication of the first collection of poems of Blake, poetic sketches, carry to 1783. After death of the father, in 1784 William with the brother Robert opened printing house and began to work with the radical publisher Joseph Johnson. Johnson's house was a place of meetings for the intellectuals — some leading English dissidents of that time. Among them were: theologian and scientist Joseph Priestley, philosopher Richard Price, artist John Henry Fuseli, feminist Mary Uolstounkraft and American revolutionary Thomas Paine. Together with William Uordsuort and William Godwin, Blake laid hopes on the French and American revolutions and wore the Frigiysky cap in solidarity with the French revolutionaries, but despaired over the years blossoming of Robespierre and Board of Terror of France. In 1784 Blake also composed, but left unfinished the manuscript "The island on the moon".

Bleyk illustrated Mary Uolstounkraft's book "True stories from real life". It is considered that they allegedly shared views on equality between floors and institute of marriage, but nevertheless there are no indisputable certificates of that they in general once met. In the "Visions of Daughters of Albion" which came out in 1793 Blake condemns cruel absurdity of violent, compulsory abstention, and also a marriage without love, and rises in defense of the right of women to realize the abilities and opportunities.

1.5 RELIEF PRINT

In 1788, at the age of 31 year, Blake starts experimenting in the field of a relief print, a method which it will apply to registration of the books of lampoons and verses, for pictures, and of course, it will execute Blake's masterpiece — illustrations to the Bible. This way was applicable as for an illustration of books, and certainly for books of illustrations with the printed images and not containing the text. To make a print of the image or a certain illustration and the text, desirable it was applied on copper plates with the handle or a brush with use of acidproof solvent. Images could settle down directly near the text in the manner of the ancient illustrated manuscripts. Then the print became the second time, but already in acid to emphasize contours and to cover untouched places which are slightly washed away then the relief of the image became more accurate.

It actually revolution upside down of a classical method of a print according to which acid is applied only on contours, on the plate simply becomes an entail, an intaglio printing. The relief print invented by Blake became an important commercial method of the press later. Before pages on which the print was made such plates, turned into book volume, them painted manually with water color paints, and then stitched. Blake used such way of a print for an illustration of the majority of the known works including "Songs of innocence and experience", "the Book Tel", "Wedding of paradise and a hell", "Jerusalem".

1.6 ENGRAVINGS

In spite of the fact that Blake became famous exactly thanks to the technology of a relief print, in own work to it the entail, an engraving method, standard in the XVIII century, which consisted only in drawing notches on a tin plate was necessary to adhere to a method more often. It was a difficult and laborious work; to transfer images to plates time a great lot, months, and even was necessary years, but as Blake's contemporary John Boydell noticed, such way of an engraving did its product by "by a weak link for commerce", allowing artists to come nearer more to the people, and having made it an important art form by the end of the XVIII century.

Bleyk also used a method интальо in the works, in particular for illustrations to "Job's Book" which finished before the most death. Newly invented Blake the equipment, a method of a relief print, was exposed to the most cruel criticism, but the researches conducted in 2009 pay much attention to the remained Blake's plates, including that were used for "Job's Book": they testify that it also often applied equipment of a bas-relief that allowed to smooth errors, was to turn a plate enough and in several blows to level an undesirable notch, having made it convex. Such equipment typical for the gravirovochnykh of works of that time, in many respects concedes to faster process of stamping in the liquid environment which was applied by Blake to the relief print, and explains why process of an engraving was such long-term.

1.7 FELFAM AND RETURN TO LONDON

In 1800, Blake moves to the small house in Felfam, in Sussex (now it is the Western Sussex), having secured the order for an illustration of works of the young poet William Haley. In this house Blake once worked on the book Milton: The poem (registration of a forward to the book is dated 1804th year, but Blake continued work up to the 1808th). The book begins with lines: "The foot Went into this hillside cool an angel?", immortalized later in the anthem (which became the informal anthem of Great Britain) "Jerusalem". Soon Bleyk became indignant with the new patron, having understood that Haley doesn't interest occupation by art at all, it is more occupied with "with a hard work on business". Bleyk's disappointment the boss Hailey so affected the first that in the poem "Milton" he wrote that "Friends in a material world — spiritual enemies".

Blake's problems with the power reached a critical stage in August, 1803 when he was got involved in a fight with the soldier by the name of John Skofild. Blake was accused not only of attack, but also of the organization of mutiny against the king. Skofild declared that Blake exclaimed: "Be damned the king. All his soldiers slaves". Chichestersky visiting session of a jury finds Blake not guilty. The Sasseksky city newspaper reports: "The Sfabrikovannost of an event was so obvious that the accused was immediately acquitted". Later in an illustration to Jerusalem Skofild will become a symbol "to limitation of reason, "the" slavery" concluded in fetters.

Bleyk returned to London in 1804 and began work on writing and an illustration of Jerusalem (1804 — 1820), its most ambitious work. Having hidden the idea to represent heroes of Canterbury stories of Chaucer, Blake addresses to the dealer Robert Kromek to sell an engraving. Understanding that Blake is always so original and for anything wouldn't begin to redo popular work, Kromek made at once the order to Thomas Stoterd. When Bleyk learned that him deceived, he terminated the contract with Stoterd. Further it opened an independent exhibition in shop of haberdashery of the brother on Broud Street 27 in the London area of Soho. The exhibition was conceived so that together with other works to sell and the version of illustrations to Canterbury stories (under the general name Canterbury pilgrims). He will also write the Descriptive catalog (1809) in which that Anthony Blant will call "the outstanding analysis" of Chaucer's work will be presented. Blake's book by right takes the place in the classical anthology of criticism on Chaucer. At the same time it contains a detailed explanation of other pictures of Blake.

However the exhibition was very badly attended, neither pictures distemper, nor a picture a water color didn't cause interest. Article about an exhibition which was published in the Expert weekly was frankly hostile.

John Cumberland presented Blake to the young artist by the name of John Linell. Before Blake's acquaintance to it I met Samuel Palmer belonging to group of artists which Shorekhamsky Aged men called themselves. They shared Blake's antipathy to the modern directions and his belief in spiritual and art revival. At the age of 65 years Blake was engaged in illustrations to "Job's Book". Will be delighted with these works Raskin who will compare Blake to Rembrandt, and Vouyen Williams who will put the ballet Job later: A Masque for Dancing, using in it a selection of illustrations of the artist.

Later Blake will begin to sell a huge number of the works, in particular the illustrations to the Bible, Thomas Batts, the boss of Blake who perceived it more likely as the friend than as honored artist, whose works were awarded recognitions. Namely it was typical opinion on Blake's creativity throughout all his life.

1.8 DEATH

In day of the death Blake continued worked on illustrations to Dante. They say that, eventually it postponed work and turned to the wife who all this time sat on a bed near him who isn't able to constrain the tears. Having looked at it, he exclaimed: "Oh, Kate, I ask, remain it is immovable, I now will draw your portrait. You were always an angel for me". Having finished the portrait (which is nowadays lost and to us not reached), Blake postponed all the brushes and accessories and began to sing anthems and songs. At 6 o'clock in the evening of the same day, having promised the wife that with her it will be eternal, Blake departed to other world. Gilchrist said that the woman who lived in the same house and was present at deaths door Blake, told: "I saw death not of the person, but a blissful angel".

Catherine paid for the husband's funeral the money borrowed at Linell. In 5 days after death — on the eve of their 45th anniversary with Catherine of a wedding, Blake was interred on a cemetery for sectarians in the town of Bankhill Filds where also his parents were buried. On a funeral there were Catherine, Edward Calvert, George Richmond, Frederik Teytem, and John Linell. After death of the husband of Catherine moved to Teytem's house where lived and I worked as the housekeeper. At this time, as she claimed, she was visited often by the husband's ghost. It continued to sell its illustrations and pictures, but didn't undertake conducting its affairs without, at first "to discuss it with Mr. Blake". In day of own death, in October, 1831, it was same quiet, same joyful as her husband and I called him so, "as if it was in the neighboring room to tell that it already goes to it and they will be together soon".

After her death, Blake's manuscripts passed to Frederik Teytem who burned some that counted heretical or too politically radical. Teytem became Irvingianin, the member of one of numerous movements of fundamentalists in the XIX century and therefore without thoughts rejected everything that "smelled slightly of blasphemy". Elements of sexual character in some pictures of Blake were also unacceptable, as became the reason of their destruction by other friend of the poet, John Linell.

Since 1965, the exact location of a grave of William Blake was lost and forgotten, the tombstone — is stolen. Later memory of the poet was immortalized by a stele with an inscription "Near this place remains of the poet and artist William Blake (1757 — 1827) and his spouses of Keterin Sofia are based (1762 — 1831)". This memorial stone was established approximately in 20 meters from the valid place of burial of Blake which reminds today nothing a grave. However the group of fans of painting of Blake nevertheless managed to calculate that place where actually the artist's body is based, and now they are going to put a monument on this place.

Bleyk was also canonized and canonized. In 1949 in Australia the Award of William Blake for a contribution to religious art was founded. And in 1957 in Westminster Abbey the memorial of memory of Blake and his wife was built.

2. DEVELOPMENT OF OUTLOOK OF BLEYK

Late works of Blake were printed much more with smaller circulation in comparison with former. And as the reason for that that now the poet began to operate with own, invented by him mythology with difficult symbolism inherent in it served. The recent Vintage anthology, the published Patti Smith, pays attention of the reader to early works, also as, for example, William Blake D. G. Gillkhem is similar to many other critical researches, such.

The early works breathing spirit of rebelliousness and mutinousness can be considered as a protest against dogmatic religion. This mood is especially traced in Wedding of Paradise and the Hell, in which Satan, in effect, the hero, борящийся against a self-appointed authoritative deity. In late works, such as Milton and Jerusalem, Blake builds a special image of humanity, humanity, iskuplyaemy self-sacrifice and forgiveness, thus showing the disgust for Christianity and its traditions.

John Midlton Mari notes a rupture of communication between Wedding and late works. While in early Blake is concentrated by "by an antagonism between passion and reason", later Blake emphasized self-sacrifice and forgiveness as a way to harmony. Refusal of dualistic idea in Wedding of Paradise and the Hell testifies, in particular, a humanization of character of Urizen as one of heroes of his works in later works. Middleton characterizes later works of Blake as existence in them of "mutual understanding" and "mutual forgiveness".

*Перевод

ВВЕДЕНИЕ:

1. Биография

1.1 Обучение у гравёра

1.2 Королевская Академия

1.3 Гордонские мятежи

1.4 Женитьба и начало карьеры

1.5 Рельефный оттиск

1.6 Гравюры

1.7 Фелфам и возвращение в Лондон

1.8 Смерть

2. Развитие мировоззрения Блейка.

1.БИОГРАФИЯ

Уильям Блейк - английский поэт и художник. Родился 28 ноября 1757 года в Лондоне, в районе Сохо, в семье лавочника. Он был третьим из семи детей, двое из которых умерли ещё в младенчестве. Уильям посещал школу только до десяти лет, научившись там лишь писать и читать, и получил образование на дому — его учила мать. Родители были протестантами — диссентерами из Моравской церкви и весьма религиозными людьми, поэтому всю жизнь сильное влияние на мировоззрение Блейка оказывала Библия. На протяжении всей его жизни она будет оставаться для него главным источником вдохновения.

Ещё в детстве Блейк увлёкся копированием греческих сюжетов с рисунков, которые приобретал для него отец. Работы Рафаэля, Микеланджело, Мартена ван Хемскера и Альбрехта Дюрера привили ему любовь к классическим формам. Постепенно это занятие переросло в увлечение живописью. Родители, зная горячий темперамент мальчика и сожалея о том, что он не ходил в школу, отдали его на уроки живописи. Правда, в период этих занятий Блейк изучал только то, что было интересно ему. Его ранние работы показывают знакомство с творчеством Бена Джонсона и Эдмунда Спенсера. Тогда же он увлёкся и поэзией.

В 1772 году Блейка на 7 лет отдали в учение к гравёру Джеймсу Бэзиру. Нет никаких сведений о том, чтобы в период обучения между учителем и учеником были какие-либо серьёзные разногласия или конфликты. К концу обучения, в 21 год, Блейк стал профессиональным гравёром.

В 1778 году Блейк поступил в Королевскую Академию искусств, где проявил себя приверженцем классического стиля эпохи Высокого Возрождения.

В 1782 году Блейк женился на Кэтрин Бушер, необразованной, но очень милой девушке, полюбившей его с первого взгляда. Они прожили вместе до смерти Блейка, причём впоследствии Кэтрин уверяла, что её регулярно посещал дух умершего мужа. Сама Кэтрин умерла в 1831 году. Детей у них не было.

Первый сборник стихов Блейка, «Поэтические наброски», вышел в 1783 году. В дальнейшем поэт создает несколько «иллюминированных рукописей», собственноручно гравируя свои стихи и рисунки на медной доске.

В 1784 году, пережив смерть своего отца, Блейк вместе с братом Робертом открыл типографию и стал работать с издателем Джозефом Джонсоном, который был известен своими радикальными идеями. Дом Джонсона был местом встречи многих «диссидентов» того времени. Здесь Блейк познакомился с поэтом Уильямом Вордсвортом и увлёкся идеями французских революционеров. В 1789 году, с началом французской Революции, появился его сборник стихотворений «Песни невинности», а в 1794 году — сборник «Песни опыта», стихотворения из которого были написаны уже в период якобинского террора и разочарования поэта в Революции.

Скончался Уильям Блейк 12 августа 1827 года, в разгар своей работы над иллюстрациями к «Божественной комедии». Его смерть была внезапна и необъяснима.

С 1965 года точное местоположение могилы Блейка было утеряно и забыто, а могильный камень был перенесён на новое место.

При жизни Блейк не получил никакой известности за пределами узкого круга почитателей, но был «открыт» после смерти прерафаэлитами. Оказал значительное влияние на западную культуру XX века. Песня «Иерусалим» на стихи Блейка считается неофициальным гимном Великобритании. Для русского читателя поэта открыл Самуил Маршак, который всю жизнь работал над переводами его стихов.

1.1.ОБУЧЕНИЕ У ГРАВЁРА

4 августа 1772 года Блейк поступил на 7-летнее обучение искусству гравировки к гравёру Джеймсу Бесайеру с Грейт Куин Стрит. К концу этого срока, к тому времени, когда ему исполнится 21 год, он должен был стать профессиональным гравёром. Но не было ни одного достижения за период обучения, которое не сопровождалось бы серьёзной размолвкой или конфликтом между ними. Однако биограф Блейка Питер Акройд отмечает, что позже Блейк внесёт имя Бэсайера в список своих соперников в искусстве, но вскоре вычеркнет его. Причиной тому было то, что стиль гравировки Бэсайера уже в то время считался старомодным, и обучение его ученика в таком ключе могло не лучшим образом повлиять на приобретаемые им навыки в этой работе, а также на будущее признание. И Блейк это понимал.

На третьем году обучения Бэсайер направил Блейка в Лондон срисовывать живописные фрески готических церквей (вполне возможно, что это задание было дано Блейку для того, чтобы обострить конфликт между ним и Джеймсом Паркером, другим учеником Бэсайера). Опыт, полученный во время работы в Вестминстерском Аббатстве способствовал формированию у Блейка его собственного художественного стиля и идей. Тогдашнее Аббатство было украшено военными доспехами и снаряжением, изображениями поминальных панихид, а также многочисленными восковыми фигурами. Акройд отмечает, что «самые сильные впечатления создавались за счёт чередования ярких красок, то появляющихся, то словно исчезающих». Долгие вечера Блейк проводил за зарисовками Аббатства. Однажды его прервали ребята из Вестминстерской школы, один из которых так замучил Блейка, что тот с силой столкнул его с плахи на землю, куда он с ужасным грохотом повалился. Блейку удалось увидеть ещё много видений в Аббатстве, например церковную процессию с монахами и священниками, во время которой ему представлялось пение псалмов и хоралов.

1.2 ОБУЧЕНИЕ В КОРОЛЕВСКОЙ АКАДЕМИИ

8 октября 1779 Блейк стал студентом Королевской академии в Олд Сомерсет Наус неподалёку от Стренда. Хотя платить за обучение не требовалось, на протяжении 6-годового пребывания в академии Блейк должен был покупать себе принадлежности и инструменты. Здесь он бунтует против того, что называет «незавершённым стилем модных художников», таких как Рубенс, столь любимый первым президентом школы Джошуа Рейнольдсом. Прошло время и Блейк просто-таки возненавидел отношение Рейнольдса к искусству вообще и в особенности к его поиску «единой истины» и «классического понимания красоты». Рейнольдс писал в своих Рассуждениях, что «склонность к абстрактному видению того или иного предмета, а также к обобщению и классификации — это триумф человеческого разума»; Блейк же, в заметках на полях отмечал, что «всё обобщать, „подгонять под одну гребёнку“, значит быть идиотом; заострение внимания — вот чего заслуживает каждая особенность». Блейку также не нравилась кажущаяся, притворная скромность Рейнольдса, которую считал лицемерием. Модным в то время работам маслом кисти Рейнольдса Блейк предпочитал классическую аккуратность и чёткость оказавших влияние на раннее творчество работ Микеланджело и Рафаэля.