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威廉 布莱克 作品画册专辑 |
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威廉 布莱克 作品画册专辑 |
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威廉 布莱克 作品画册专辑 |
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威廉 布莱克 作品画册专辑 |
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威廉 布莱克 作品画册专辑 |
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威廉 布莱克 作品画册专辑 | |||||||||||||||
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威廉布莱克(William Blake,1757-1827) 又名布雷克。英国第一位重要的浪漫主义诗人、画家、雕塑家。
1757年出生于伦敦，孩提时便自有观点，这使得他的作品自有一种将诗与画相结合的效果。他10岁开始学习雕刻和绘画。
早期作品深受米开朗基罗的影响。
1778年他就读于皇家美术学院。
布雷克的作品，使用单纯而强烈的线条与色彩，来描绘超现实的梦幻般的感情。
他的许多作品都是一种超现实感情的象征作品，因此在当时社会中无法为人们所接受。
他于1827年去世。
威廉·布莱克（William Blake，1757－1827） 是一位复杂的多重人物。除了诗人，他同时还是画家、雕刻家。他艺术的一面影响另一面。他用自己发明的方法，把写的诗和画的插图刻在铜板上，然后用这种铜板印成书页，再给它们涂色。细读布莱克的作品，我们可以发现，它们是由图像和文本结合的整体。文本不仅仅是用来说明图画，图画也不仅仅是用来表现原文。两者都需要解释性或推测性的阅读。
从童年时代起，布莱克就充满了丰富的想像力，并且时常经历幻想。他说他曾看见过缀满天使的大树，曾见到过安葬在威斯敏斯特教堂中的古圣先贤，并给他们画过画像。他把自己所看到的一切用绘画和诗歌表现出来。他的画大多是经过深思熟虑后的变形人体或 表现他幻觉中所见到的人物。如他为自己的诗“欧洲：一个预言”(1794)所作的插图就是源自他的幻觉。据说，当布莱克住在兰伯斯时，他曾站在 一个楼梯的顶端，看见过类似的一副幻象出现在空中。从这幅画面上可以看出：混沌初开，一个裸体老人白发白须飞扬，伏在一个黄边红里的圆形物体内，伸出左 手，在用一幅巨大的圆规测量下面的一片沉沉黑暗。这位神秘的老人显然是《圣经》里的上帝耶和华。在《旧约·箴言》里有一段“智慧”所说的话，可以佐证。这 幅画不仅构图和色彩都带有一种梦幻般的神秘感，而且用意也不是写上帝的伟大。它表达的是上帝的邪恶，因为他创造了一个黑暗的世界，那幅圆规看起来像是黑暗 的暴风雨之夜霹雳的电光。所以他只能是邪恶之神。
布莱克除了自写自画之外，还常常为别人的诗文作画。一幅名为《怜悯》 的画，就是他为莎士比亚的名著《麦克白》的第一幕第七场所作的插图。麦克白在即将弑君夺位时，内心充满犹豫和矛盾。他说：“怜悯像一个赤条条的在狂风中飘 游的新生儿，又像一个御气而行的天婴，将要把这可憎的行为揭露在每一个人的眼中，使眼泪淹没天风。”布莱克在这里构想了一个神话般的场面：在深沉的夜幕下，“怜悯”这位充满慈悲的人物，骑着一匹飘逸的白马“太虚使者”，无声无息地掠过夜空。大地上躺着一位刚刚生产的母亲。她非常虚弱，无力照顾新生的婴儿。“怜悯”关切地俯下身去，张开双臂迎接一个新的生命。而这个幼小但充满活力的新生儿，从大地母亲身上一跃而起，扑到“怜悯”的怀中。在“怜悯”的身后，有一个夜的使者，正张开手臂飞翔着，静静地掠过夜空。整个画面显得那样宁静而深沉，充满着夜的神秘感和博大的包容性。无边的夜幕，掩盖着无数的罪恶、不幸、欢乐、忧伤、生命和死亡、温柔与狰狞······所有的一切，都在它的包容下沉寂，构成了深不可测的神秘内容。
布莱克一生都保持着宗教、政治和艺术上的激进倾向。他浓厚的宗教意识、艺术家的天分和丰富的人生阅历，给他的诗歌提供了取之不尽的创作源泉，并使它的诗歌具有明显的宗教性、预言性、哲理性和艺术性等几大特点。他对英国诗歌，特别是浪漫主义诗歌所作出的贡献是有目共睹的。其前期诗作主要包括《诗歌素描》 (1783)、《天真之歌》及《经验之歌》等。这一时期的诗作，语言上简单易懂，且以短诗为主，音节也能短则短，题材内容则以生活中的所见所闻为主；而后期的诗作篇幅明显增长，有时长达数百乃至上千行，内容也明显地晦涩起来，以神秘、宗教，以及象征为主要特征。
布莱克一生都没有得到官方或公众的赏识。在当时人们的眼中，它是个反理性主义者、梦幻家和神秘主义者，一个远离尘世的人和偏执狂。他的作品没有受到重视。直到十九、二十世纪之交，叶芝等人重编了他的诗集，人们才惊讶于他的纯真与深刻。接着是他的书信和笔记的发表，他的神启式的画也逐渐普及，于是诗人与画家布莱克的地位才确立无疑。
时至今日，不少批评家把布莱克列为英国文学史上与乔叟、斯宾塞、莎士比亚、弥尔顿、华兹华斯齐名的最伟大的六位诗人之一。由于他的画在文艺复兴以后，开启了不重形似而重精神力量的新路，他又被赞誉为“英国艺术方面最重要的人物之一”。笔者2002年8月至 2003年8月在英国剑桥大学访学期间发现：剑桥大学菲茨威廉博物馆(FitzwilliamMuseum)为布莱克开设了专馆，且馆藏十分丰富；仅在2002年米迦勒学期(MichaelmasTerm)剑桥大学英文系的课程表中，就有三门有关布莱克研究的课程，它们是：“威廉·布莱克”、“布莱克的 复合艺术”(Blake sCompositeArt)和“布莱克的微细特例”(Blake sMinuteParticulars)。布莱克的成就及魅力由此可见一斑。正如王佐良教授所断言的，对于后来者来说，布莱克是挖掘不尽的——无论从思想、象征、神话出发，还是从格律、诗艺或绘画艺术出发，他的作品里还有大量值得深入研究的东西。他经得起不断发掘。很可能，今后人们还会从他的作品中发掘出很多新的东西。William Blake (1757-1827), English artist, mystic and poet wrote Songs of Innocence (1789): a poetry collection written from the child’s point of view, of innocent wonderment and spontaneity in natural settings which includes “Little Boy Lost”, “Little Boy Found” and “The Lamb”;
Little lamb, who made thee?
Dost thou know who made thee?
Gave thee life, and bid thee feed
By the stream and o'er the mead;
Gave thee clothing of delight,
Softest clothing, woolly, bright;
Gave thee such a tender voice,
Making all the vales rejoice?
Little lamb, who made thee?
Dost thou know who made thee?
Songs of Experience (1794) contains many poems in response to ones from Innocence, suggesting ironic contrasts as the child matures and learns of such concepts as fear and envy. For example, to “The Lamb” comes the predatory “The Tyger”;
And what shoulder, and what art,
Could twist the sinews of thy heart?
And when thy heart began to beat,
What dread hand? and what dread feet?
What the hammer? what the chain?
In what furnace was thy brain?
What the anvil? what dread grasp
Dare its deadly terrors clasp?
When the stars threw down their spears,
And watered heaven with their tears,
Did he smile his work to see?
Did he who made the Lamb make thee?
Later editions would see Innocence and Experience contained in one volume. As a friend of Mary Wollstonecraft Shelley, Percy Bysshe Shelley and Thomas Paine, Blake was among the literati of London’s intellectual circle though he was often labeled an eccentric or worse, insane or demented. His works did not gain much acclaim or commercial success until long after his death. Although he had several patrons over the course of his life and produced voluminous works, he often lived in abject poverty. Though it is hard to classify Blake’s body of work in one genre, he heavily influenced the Romantic poets with recurring themes of good and evil, heaven and hell, knowledge and innocence, and external reality versus inner. Going against common conventions of the time, Blake believed in sexual and racial equality and justice for all, rejected the Old Testament’s teachings in favour of the New, and abhorred oppression in all its forms. He focused his creative efforts beyond the five senses, for, If the doors of perception were cleansed every thing would appear to man as it is, infinite. For man has closed himself up, till he sees all things thro’ narrow chinks of his cavern.—from The Marriage of Heaven and Hell written between 1790-93, which inspired the title of Aldous Huxley’s essay “The Doors of Perception” (1954).
As an artist Blake admired and studied the works of Raphael, Heemskerk, Dürer, and Michelangelo, who would become important influences to the fantastic and at times apocalyptic illustrations he created for his own writings and others’. From his c.1803 poem “The Mental Traveler”—I traveld thro’ a Land of Men, A Land of Men & Women too, And heard & saw such dreadful things, As cold Earth wanderers never knew. He developed mythic creatures inspired by Greek and Roman mythology including Los, who represents the poetic imagination; Albion, who represents England; and Orc, who embodies youthful rebelliousness. His illustrations for the Bible’s “Book of Revelations” include ‘The Great Red Dragon’ (Satan) made famous most recently in Thomas Harris’ novel Red Dragon (1981). While Blake lived the majority of his life in London, he exerted a profound impact on future poets, artists, writers, and musicians the world over.
William Blake was born on 28 November, 1757, in London, England, the third son of Catherine née Wright (1723–1792) and James Blake (c.1723–1784) a hosier and haberdasher on Broad Street in Golden Square, Soho. Young William was prone to fantastic visions, including seeing God, and angels in a tree. He would later claim that he had regular conversations with his deceased brother Robert. It was soon apparent that Blake’s internal world of imagination would be a prime motivator throughout his life. Noting something special in their son the Blakes were highly supportive of and encouraged his artistic creativity and thus began his education and development as an artist.
He had early shown an interest in and aptitude for drawing, so, at the age of ten Blake entered Henry Pars’ drawing school. Then, at the age of fourteen Blake started a seven year apprenticeship with engraver James Basire, the official engraver to the Society of Antiquaries. From his bustling shop on Queen Street, Blake learned all the tools of the trade that would become his main source of income. He was often sent out on assignments to create sketches and drawings of statues, paintings, and monuments including those found in churches like Westminster Abbey. The intense study of Gothic art and architecture appealed to Blake’s aesthetic sensibility and brought out his penchant for the medieval. He also met numerous figures from London’s intellectual circle during this period. After attending the Royal Academy under Sir Joshua Reynolds for a time Blake left because he found the intellectual atmosphere there too restrictive to his burgeoning artistic side. In 1780 he obtained employment as an engraver with publisher Joseph Johnson.
In 1782 Blake married Catherine Sophia Boucher (1762-1831). Although they had no children it was mostly a happy marriage and Blake taught Catharine to read and write. They were a devoted couple and worked together on many of Blake’s publications. He had been writing poetry for quite some time and his first collection, Poetical Sketches, appeared in 1783. While Blake was busy with commissions he also undertook the task of creating the engravings that would illustrate his own poetry, and he also printed them himself. He experimented with an early method of creating images and text on the same plate. His highly detailed illustrations often focus on parts of the human anatomy or fantastically imaginative creatures surrounded by various natural forms. Often tackling difficult metaphorical themes, his characters embodying inspiration and creativity do battle with oppressive forces like law and religion. He employed techniques for decorative margins and hand-coloured the printed images, or printed with the colour already on the wood or copper plate, the paint of which he mixed himself. This attention to the craft and details of each volume make no two of his works alike. He also illustrated works for other writers and poets including Mary Wollstonecraft Shelley’s Original Stories from Real Life (1788).
The Book of Thel (1789), one of Blake’s first long narrative poems, was followed by the first of his prophetical works, The Marriage of Heaven and Hell (c.1793). Other works finished around this time were America: A Prophesy (1793), Europe: A Prophesy (1794), Visions of the Daughters of Albion (1793), and The Book of Urizen (1794).
In 1800, the Blakes moved to Felpham in Sussex where William was commissioned to illustrate works by his then patron, poet William Hayley. In 1803 Blake was charged with sedition after a violent confrontation with soldier John Scolfield in which Blake uttered treasonable remarks against the King. He was later acquitted. In 1805 he started his series of illustrations for the Book of Revelations and various other publications including Geoffrey Chaucer’s 14th Century Canterbury Tales, Robert John Thornton’s Virgil and John Milton’s Paradise Lost. Milton: A Poem was published around 1811. Jerusalem: The Emanation of the Giant Albion (c.1820) is Blake’s longest illuminated work.
In 1821 the Blakes moved to lodgings in Fountain Court, Strand. There he finished his work on the Book of Job in 1825, commissioned by his last patron John Linnell. The following year he started a series of watercolours for Dante Alighieri’s Divine Comedy, which he worked on up to the day of his death. William Blake died at home on 12 August, 1827. Unable to pay for a funeral, Linnell loaned the money to Catherine. Blake was buried in an unmarked grave in the Non-Conformist Bunhill Fields in London where Catherine was buried four years later among other notable figures of dissent like Daniel Defoe and John Bunyan. A grave marker now stands near to where they were buried. In 1957 a memorial to Blake and his wife was erected in Poet’s Corner of Westminster Abbey, London.
Beatrice Addressing Dante
by William Blake 73.7 x 58.4 cmThe Ancient of Days, 1794, Relief Etching with Watercolor
by William Blake 45.7 x 61.0 cmThe Sick Rose, from Songs of Innocence
by William Blake 45.7 x 61.0 cmSongs of Innocence
by William Blake 45.7 x 61.0 cmLondon British Rail
by William Blake 111.8 x 81.3 cmBook of Thel; Thel Leaning Over the "Matron Clay" and the Worm, 1789
by William Blake 61.0 x 45.7 cmThe Marriage of Heaven and Hell; Title-Page, 1790-93
by William Blake 45.7 x 61.0 cmMoses Placed in the Ark of the Bulrushes
by William Blake 61.0 x 45.7 cmEurope Supported by Africa and America, circa 1796
by William Blake 45.7 x 61.0 cmA Poison Tree, from Songs of Experience
by William Blake 45.7 x 61.0 cmSt. Gregory and the British Captives
by William Blake 61.0 x 45.7 cmIllustrations of the Book of Job; Satan Smiting Job with Sore Boils, 1825
by William Blake 61.0 x 45.7 cmThe Marriage of Heaven and Hell; "As a New Heaven is Begun", circa 1790
by William Blake 45.7 x 61.0 cmMoses and the Burning Bush
by William Blake 45.7 x 61.0 cmIllustrations of the Book of Job; Job Accepting Charity, 1825
by William Blake 61.0 x 45.7 cmThe Fall of Man
by William Blake 45.7 x 61.0 cmThe Old Dragon
by William Blake 45.7 x 61.0 cmThe Ancient of Days
by William Blake 45.7 x 61.0 cm
