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ARCH.2003.39, Rendition: 806832
The image is a newspaper article from "The Christian Science Monitor," dated February 23, 1978. The article is titled "William Blake: appreciation of his vision came late" and is written by Caren Le Brun Daaskla.
The article discusses the recognition and appreciation of the English artist and poet William Blake (1757-1827), whose work was not fully appreciated during his lifetime. It highlights an exhibition at Harvard University, which includes a dual exhibition with Harvard's Fogg Art Museum and Houston Library, showcasing Blake's watercolors, drawings, engravings, and illustrated books.
Key points include:
The article concludes with a description of Blake's unique vision and the enduring appeal of his art, which continues to captivate viewers with its energy and mysticism.
The image displays a newspaper article from The Christian Science Monitor dated February 23, 1978. The article, titled "William Blake: appreciation of his vision came late," is written by Caron Le Brun Danforth.
The article discusses the late recognition and delayed appreciation of the work of the visionary English artist and poet William Blake (1757-1827). It highlights an exhibition of Blake's works at Cambridge University’s Fogg Art Museum, which coincides with a major Blake exhibition at Tate Gallery in London.
The piece mentions that Cambridge's Fogg Art Museum is showcasing Blake's illuminated manuscripts and other works for the first time in many years. It notes that Blake's art and poetry were initially misunderstood and appreciated much later in his lifetime. The article describes Blake’s unique vision, his unconventional approach to art and literature, and his exploration of themes such as imagination, nature, and the spiritual.
The article also mentions a specific gift to the Fogg Museum by Greville L. Winthrop, consisting of 3,760 art objects related to Blake, which have never left Harvard's campus before. Additionally, it mentions the influence of Blake's work on Dante's "Divine Comedy," illustrated by Blake, and how this work is part of the ongoing exhibition at the Fogg Art Museum.
The article concludes by emphasizing the artistic brilliance and enduring impact of William Blake's work.
By Caron Le Brun Danilson
Recognition in the arts is too often bittersweet—and a delayed reaction. This is the case with the English artist and poet, William Blake (1757-1827), whose dream visions were out of context in his own Age of Reason, generally unappreciated by his contemporaries. It took about 100 years for his mastery of visual and verbal images to become recognized.
Now, through Feb. 28, Cambridge, Mass., is the place to see this. Harvard University, is spotlighting the eccentric mystic who defied tradition and reason and paid homage to imagination and intuition ("The tigers of wrath are wiser than the horses of instruction.") It's a dual exhibition with Harvard's Fogg Art Museum presenting a rare collection of Blake's watercolors, including his large color printings, and Harvard's Houghton Library displaying an almost complete series of Blake's own illuminated books, done in the tradition of illuminated manuscripts, and other works he illustrated.
It has been many years since the Fogg has displayed this body of work—and now the show coincides with this spring's major Blake exhibition at the Tate Gallery in London.
These Blakes are unlikely ever to see England again, however. Grenville L. Winthrop, who made a breathtaking gift of 3,700 art objects to the Fogg in 1943, stipulated in his will that the pieces may never leave Harvard's hallowed halls.
The name Blake conjures up animated, rhythmic images and words charged with an energy that was his alone—"Tyger! Tyger! burning bright/In the forests of the night/What immortal hand or eye/Could frame thy fearful symmetry?" Blake, a mystic who said God appeared to him, conveyed an "inner reality," rather than the "vegetable universe" he deplored, the depths of good and evil, and man's striving for freedom of the spirit. His own interpretation of the "Inward Battle of the Soul" is expressed in his dramatic water colors for the Book of Job, done in 1821, for the Book of Job in the Old Testament.
One room at the Fogg is devoted to his set of Job illustrations (there were four sets in all) ordered by artist John Linnell, a friend and follower of Blake. It is an impressive sight, especially with the addition of some of the black-and-white engravings displayed in wall cases beside the original watercolors. And energy of line, rhythmic composition, and evocative color surges through them. It is more than a viewing, it is an unforgettable experience.
This very close encounter with Blake's fervent inner world reaches an artistic crescendo in the 23 watercolors from the designs he did for Dante's "Divine Comedy"—the final project he began at 67 years of age. He even learned Italian so he could read Dante in the original. The Fogg has 17 of the 23, including the magnificent tableau of Dante and Virgil with the whirling figures of Rusticucci and his companions from the "Inferno," and one of Blake's luminous gems, "Dante in the Moon," with its landscape in incandescent blues and greens and a star-studded sky.
The landscape section in this work reminds us that Andrew Wilton, curator of prints and drawings at the Yale Center for British Art, will give a free public lecture on "Blake as a Landscape Artist" at the Fogg, on Friday, Feb. 24 at 4 p.m.
The display is an overall pleasure, and in the presence of such delights Blake can be forgotten his "Adam and Eve in Paradise" under a garden of flowers looking very much like a dawn-of-Romanticism Valentine. As you enter the show you see a quote from the pastoral landscape Samuel Palmer, one of Blake's circle, describing Blake: "He was an angel—itself, and shed around him a kind of influence. Blake's artistic sparks continue to ignite imagination and admiration, 150 years after his time.
The Christian Science Monitor
February 23, 1978
The image is a newspaper clipping from The Christian Science Monitor, dated February 23, 1978. The article, titled "William Blake: appreciation of his vision came late," is written by Karen Le Brun Dunakin from Cambridge, Mass.
Recognition of William Blake:
The article discusses the delayed recognition of the visionary English artist and poet William Blake (1757-1827). Blake's contemporaries largely unappreciated his work, and it took about 150 years for his mastery of visual and verbal images to gain recognition.
Recent Exhibitions and Collections:
The article highlights a significant exhibition at Harvard University's Houghton Library, showcasing Blake's watercolors, drawings, and engravings. This collection includes nearly all of Blake's illuminated books, which he created in the tradition of illuminated manuscripts.
Part of Winthrop Gift:
The works exhibited are part of the Arthur A. Houghton Jr.'s collection, which he bequeathed to Harvard in 1948. The article notes that these pieces will never leave Harvard's halls.
Artistic Themes and Style:
Blake's art is described as being full of energy and mystical visions. His works often depict a unique interpretation of reality, focusing on the spiritual and the divine rather than the physical world. The article mentions specific works such as "Tyger! Tyger!" and "Job" illustrations, highlighting the dramatic and evocative use of colors and imagery.
Divine Comedy Illustrations:
A special focus is given to Blake's illustrations for Dante's "Divine Comedy." The article notes that these illustrations are a profound artistic achievement, displaying intricate details and powerful imagery. The landscapes in these works are compared to those by Andrew Wyeth and Samuel Palmer, showcasing Blake's unique vision and artistic flair.
Exhibition Details:
The exhibition at the Fogg Art Museum, part of Harvard University, is noted for its impressive and comprehensive display of Blake's works, including a dedicated room for the "Job" illustrations. The display is scheduled to be open until 4 p.m. on February 24.
Overall, the article emphasizes the eventual recognition of William Blake's genius and the significance of the current exhibition in showcasing his extraordinary contributions to art and literature.
The image is a newspaper clipping from The Christian Science Monitor dated February 23, 1978. The article is titled "William Blake: appreciation of his vision came late" and is written by Caren Le Brun Dankman.
The article discusses a major exhibition of William Blake's works at Harvard University's Fogg Art Museum in Cambridge, Massachusetts. The exhibition highlights Blake's art and poetry, which were largely unappreciated during his lifetime but are now recognized for their visionary qualities.
Key points from the article include:
The article also references the Winthrop gift of Blake's works to the Fogg Museum, which includes 3,700 objects. The display is noted for its ability to engage visitors with Blake's art and ideas, making it an unforgettable experience.
The image is a newspaper clipping from "The Christian Science Monitor," dated February 23, 1978. The article, titled "William Blake: appreciation of his vision came late," is written by Caron Le Brun Dunham.
The article discusses the delayed recognition of the English artist and poet William Blake (1757-1827) and his visionary contributions to art and poetry. It highlights that Blake's work was largely unappreciated during his lifetime and for about 100 years afterward. The article mentions a major exhibition of Blake's work at the Fogg Art Museum in Cambridge, Massachusetts, which coincides with a similar show at Tate Gallery in London.
The exhibition at the Fogg features Blake's illuminated manuscripts, drawings, and watercolors, including works like "The Divine Comedy" illustrations and the "Job" illustrations. The article notes the energetic and vivid nature of Blake's art, emphasizing the emotional and imaginative depth of his creations.
The clipping also mentions a public lecture on Blake at the Yale Center for British Art, given by Andrew Wilton, and highlights the visual and emotional impact of Blake's works, which continue to inspire admiration even 150 years after his death. The article describes the show as a rich and rewarding experience for viewers.
The image shows a scanned newspaper article from "The Christian Science Monitor" dated February 23, 1978. The headline reads "William Blake: appreciation of his vision came late," with the article written by Caron Le Brun Dunham in Cambridge, Massachusetts. The article describes recognition in the arts as often bittersweet and delayed, stating that this was the case for William Blake (1757-1827), an artist and poet. It mentions an exhibition that coincides with a major Blake exhibit at the Tate Gallery in London.
The text delves into various aspects of Blake's work, including engravings, watercolors, drawings, and illuminated books, and touches on his depictions of mythological and biblical scenes. The article references Blake's illustrations for Dante's "Divine Comedy" and connects his work with that of artist Samuel Palmer. The essence of the article celebrates Blake's legacy and mentions his continued influence and admiration, 150 years after his time.
Significant amounts of the text are visible and legible, although the quality of the scan does slightly affect the readability. Some parts of the text at the edges are cut off due to the page layout, but the main body of the article is intact and legible. The text also mentions an upcoming lecture on Blake at the Fogg Art Museum.
The image is a page from a newspaper or magazine with a black-and-white photograph of William Blake's "Divine Comedy" illustrations. The article is titled "William Blake: Appreciation of his vision came late" and discusses the artist's work and the delayed recognition he received during his lifetime. The article mentions that the watercolors, drawings, and engravings of Blake's work are currently on display at Harvard University, and that the exhibition is part of the Winthrop gift. The article also highlights some of the notable works on display, such as "Adam and Eve in Paradise" and "Lucia Carrying Dante in his Sleep." The article concludes with a quote from the pastoral landscape artist Samuel Palmer, who described Blake as a "kindling, in-finite imagination and admiration."
The image shows a page from a publication titled "William Blake: appreciation of his vision came late" by Caron Le Brun Danhiak, published in The Christian Science Monitor on February 23, 1978. The page is numbered 5 and is part of an article discussing the late recognition of the English artist and poet William Blake (1757–1827).
Title and Byline:
Content Overview:
Exhibition Details:
Blake’s Artistic Vision:
“Divine Comedy” Illustrations:
Landscape and Romanticism:
Publication Information:
This page serves as a scholarly and appreciative examination of Blake’s artistic legacy, emphasizing his unique vision and the delayed but profound impact of his work.
The image is a page from a publication, likely a magazine or journal, featuring an article about William Blake, a renowned English artist and poet. The article is titled "William Blake: Appreciation of His Vision Came Late" and is authored by Caron Le Brun Danklian. The page number "5" is visible in the top right corner.
The article discusses the delayed recognition of William Blake's artistic and poetic contributions, which were often misunderstood or overlooked during his lifetime. Blake's visionary dream visions, which were out of context in his own age, are now appreciated for their contemporaries. The article highlights an exhibition at Harvard University's Fogg Art Museum, which showcases Blake's watercolors, drawings, engravings, and illuminated books.
The exhibition includes a significant collection of Blake's work, including his "Divine Comedy" illustrations, which are described as a close encounter with Blake's fervent inner world. The article mentions a free public lecture by Andrew Wilton, curator at the Yale Center for British Art, on "Blake as a Landscape Artist" at the Fogg on February 24 at 4 PM.
The article also describes the thematic and stylistic elements of Blake's work, such as his use of rhythmic composition, evocative color, and the interplay of light and dark. It mentions a quote from a pastoral landscape by Samuel Palmer, which captures the essence of Blake's artistic vision.
The publication date of the article is February 23, 1978, as indicated at the bottom of the page. The article is from "The Christian Science Monitor," suggesting that it may have been published in a section related to arts or culture.