Fine Art Poster
From £28
A giclée print on 200gsm matte fine art paper, using a twelve-colour process for accurate, fade-resistant colour. Supplied unframed, delivered flat or rolled.
Weinende Gestalt und Pferd – William Blake
Regulärer Preis
£28.00 GBP
Angebotspreis
£28.00 GBP
Regulärer Preis
Archival Pigmentdruck
Rahmen werden montagefertig geliefert
Sichere Kaufabwicklung
Auf Bestellung gefertigt
Beschreibung
Ein feiner Stich von William Blake aus seiner Serie zur Illustration von Edward Youngs Gedicht „Night Thoughts“, der eine Figur in Trauer darstellt.
Dieser Stich stammt aus William Blakes ehrgeizigem Projekt, Edward Youngs Gedicht „Night Thoughts“ zu illustrieren. Im Auftrag des Verlegers Richard Edwards schuf Blake Hunderte von Aquarellentwürfen um den Text des Gedichts herum, die dann teilweise gestochen wurden. Diese spezielle Platte fängt einen Moment intensiver emotionaler und theologischer Reflexion ein, der charakteristisch für Blakes Auseinandersetzung mit Youngs melancholischem Vers ist.
Die Komposition zeigt eine Figur in tiefster Trauer, gebeugt, mit den Händen das Gesicht bedeckend. Die Figur ist vor einer großen, kreisförmigen Form positioniert, die eine himmlische oder kosmische Präsenz andeutet, während ein Pferd im unteren Bereich des Bildes erscheint. Blake verwendet feine, präzise Linienführung, um die Anatomie und die fließenden, ätherischen Formen, die das zentrale Motiv umgeben, zu definieren. Die Kreuzschraffur im Hintergrund erzeugt ein Gefühl von Tiefe und atmosphärischer Spannung, das im Kontrast zur leichteren, zarteren Darstellung der menschlichen Figur steht.
Blakes Herangehensweise an diese Illustrationen war sehr persönlich. Er schmückte den Text nicht nur aus, sondern versuchte, die von Young aufgeworfenen spirituellen und philosophischen Fragen zu interpretieren. Die Integration von Text und Bild auf der Seite spiegelt die Tradition des illuminierten Buches aus dem 18. Jahrhundert wider, wo die visuellen Elemente als Kommentar zum geschriebenen Wort fungieren. Das Werk demonstriert Blakes technisches Geschick als Graveur und seine Fähigkeit, abstrakte theologische Konzepte in visuelle Erzählungen zu übersetzen. Der starke Kontrast zwischen dem dunklen, texturierten Hintergrund und der beleuchteten zentralen Figur lenkt den Blick deutlich auf die menschliche Verfassung, wie sie im Gedicht dargestellt wird. Dieser Druck gewährt einen Einblick in den kollaborativen Prozess zwischen Dichter und Künstler im späten 18. Jahrhundert und fängt die Schnittstelle von Literatur und bildender Kunst ein.
Das könnte Ihnen auch gefallen
Rückgaberecht
Da jeder Druck auf Bestellung gefertigt wird, bieten wir keine Rücksendungen, Rückerstattungen oder Umtausche aufgrund von Meinungsänderungen an. Sollte Ihre Bestellung fehlerhaft, beschädigt oder falsch ankommen, ersetzen wir sie kostenlos – kontaktieren Sie uns einfach innerhalb von 48 Stunden nach Lieferung. Vollständige Details finden Sie auf unserer Rückerstattungsseite.
Versand
Wir versenden weltweit und drucken im Produktionszentrum in der Nähe Ihrer Lieferadresse. Lieferzeiten und -kosten variieren je nach Zielort – die Ihnen zur Verfügung stehenden Optionen werden Ihnen an der Kasse angezeigt.
Fertigung
Jeder Druck wird auf Bestellung im 12-Farben-Giclée-Druckverfahren auf FSC-zertifiziertem Archivpapier hergestellt. Entworfen in Großbritannien und gedruckt in Ihrem nächstgelegenen Produktionszentrum, um Abfall zu reduzieren und die Lieferung zu beschleunigen.
Look vervollständigen
Weinende Gestalt und Pferd – William Blake
Regulärer Preis
Ab £28.00 GBP
Angebotspreis
Ab £28.00 GBP
Regulärer Preis
Fine Art Poster / A4 (21x29.7 cm) / -
Artist Biography
William Blake
Blake saw angels in a tree when he was about eight years old, at Peckham Rye in south London. Bright angelic wings, he said, bespangling every bough like stars. When he reported this at home, his father nearly beat him for lying. His mother intervened. He was never sent to school. He later said he was grateful for this, having been spared being flogged into following the style of a fool.
He married Catherine Boucher in 1782. She was illiterate at the time and signed the marriage register with an X. He taught her to read, write, and engrave, and she became his collaborator for the next forty-five years: mixing paint, operating the printing press, hand-colouring plates, and binding the finished pages into covers.
Their working method was Blake's own invention, revealed to him (he said) in a dream by the spirit of his dead brother Robert. Relief etching reversed the standard printmaking process: instead of cutting lines into copper, Blake wrote and drew on the plate in acid-resistant varnish, then dissolved the surrounding metal with acid, leaving text and image raised. This allowed him to compose poetry and illustration simultaneously on a single plate, print them together, then hand-colour each sheet in watercolour. Every copy was therefore unique. Songs of Innocence and of Experience was produced this way. He sold fewer than thirty copies during his lifetime.
In 1803, he physically threw a soldier named John Schofield out of his garden in Felpham. He was charged with assault and with uttering treasonable expressions against the King. He was acquitted at the Chichester assizes in January 1804.
Newton, painted in 1795, shows the scientist as a young man with the body of a Greek god, bent forward at the bottom of a dark ocean, fixing his gaze on a pair of compasses, measuring and drawing on a scroll that appears to project from his own head. It is a painting about the limits of reason: beautiful, precise, and missing everything beyond the edge of the paper. The Ancient of Days, from the same period, depicts his mythological figure Urizen crouching at the edge of a void, reaching down with a compass to measure the darkness below.
He died on 12 August 1827, working on illustrations for Dante's Divine Comedy. He was buried at Bunhill Fields. The wider recognition came decades later.
He married Catherine Boucher in 1782. She was illiterate at the time and signed the marriage register with an X. He taught her to read, write, and engrave, and she became his collaborator for the next forty-five years: mixing paint, operating the printing press, hand-colouring plates, and binding the finished pages into covers.
Their working method was Blake's own invention, revealed to him (he said) in a dream by the spirit of his dead brother Robert. Relief etching reversed the standard printmaking process: instead of cutting lines into copper, Blake wrote and drew on the plate in acid-resistant varnish, then dissolved the surrounding metal with acid, leaving text and image raised. This allowed him to compose poetry and illustration simultaneously on a single plate, print them together, then hand-colour each sheet in watercolour. Every copy was therefore unique. Songs of Innocence and of Experience was produced this way. He sold fewer than thirty copies during his lifetime.
In 1803, he physically threw a soldier named John Schofield out of his garden in Felpham. He was charged with assault and with uttering treasonable expressions against the King. He was acquitted at the Chichester assizes in January 1804.
Newton, painted in 1795, shows the scientist as a young man with the body of a Greek god, bent forward at the bottom of a dark ocean, fixing his gaze on a pair of compasses, measuring and drawing on a scroll that appears to project from his own head. It is a painting about the limits of reason: beautiful, precise, and missing everything beyond the edge of the paper. The Ancient of Days, from the same period, depicts his mythological figure Urizen crouching at the edge of a void, reaching down with a compass to measure the darkness below.
He died on 12 August 1827, working on illustrations for Dante's Divine Comedy. He was buried at Bunhill Fields. The wider recognition came decades later.
Unsere Funktionen
Entwickelt für nachhaltige Wirkung
Besondere Eigenschaften
Jedes Solis-Stück wird auf Bestellung mit archivtauglichen Materialien in Galeriequalität gefertigt, die für eine lange Lebensdauer ausgelegt sind.
- Giclée-Druck in Museumsqualität für satte, lichtbeständige Farben
- Mattes Fine-Art-Papier in Archivqualität, FSC-zertifiziert
- Mehrere Größen und Rahmenoptionen verfügbar
- Rahmen in Schwarz, Naturholz, dunklem Holz oder Weiß
- Gerahmte Drucke werden fertig zum Aufhängen geliefert
Pflege & Reinigung
Damit Ihr Kunstwerk optimal aussieht:
- Vorsichtig mit einem weichen, trockenen Tuch abstauben
- Längere direkte Sonneneinstrahlung vermeiden
- Niemals flüssige Reiniger auf Druck- oder Leinwandoberflächen verwenden
- An einem trockenen Ort bei Raumtemperatur aufbewahren
- Drucke mit sauberen, trockenen Händen anfassen
Material & Größe
Museums-Giclée-Druck auf FSC-zertifiziertem, archivbeständigem, mattem Papier, wahlweise mit Rahmen oder als Leinwand.
- Papierformate: A4, A3, A2, A1, A0 und B2 (50×70 cm)
- Leinwand: XS (20×30 cm) bis Large (60×90 cm)
- Rahmen: Schwarz, Naturholz, dunkles Holz oder Weiß
Made to order
Choose your finish
Every piece is printed to order. These are the five finishes, and what makes each one different.
Fine Art Framed
From £45
The same fine art print in a solid wood frame with UV-protective acrylic glaze and rigid backing. Five frame colours. Arrives ready to hang.
Warum uns wählen?
Garantie für beschädigungsfreie Lieferung
Schneller Versand
Museumsreife Materialien
Biografie des Künstlers
William Blake
Blake saw angels in a tree when he was about eight years old, at Peckham Rye in south London. Bright angelic wings, he said, bespangling every bough like stars. When he reported this at home, his father nearly beat him for lying. His mother intervened. He was never sent to school. He later said he was grateful for this, having been spared being flogged into following the style of a fool.
He married Catherine Boucher in 1782. She was illiterate at the time and signed the marriage register with an X. He taught her to read, write, and engrave, and she became his collaborator for the next forty-five years: mixing paint, operating the printing press, hand-colouring plates, and binding the finished pages into covers.
Their working method was Blake's own invention, revealed to him (he said) in a dream by the spirit of his dead brother Robert. Relief etching reversed the standard printmaking process: instead of cutting lines into copper, Blake wrote and drew on the plate in acid-resistant varnish, then dissolved the surrounding metal with acid, leaving text and image raised. This allowed him to compose poetry and illustration simultaneously on a single plate, print them together, then hand-colour each sheet in watercolour. Every copy was therefore unique. Songs of Innocence and of Experience was produced this way. He sold fewer than thirty copies during his lifetime.
In 1803, he physically threw a soldier named John Schofield out of his garden in Felpham. He was charged with assault and with uttering treasonable expressions against the King. He was acquitted at the Chichester assizes in January 1804.
Newton, painted in 1795, shows the scientist as a young man with the body of a Greek god, bent forward at the bottom of a dark ocean, fixing his gaze on a pair of compasses, measuring and drawing on a scroll that appears to project from his own head. It is a painting about the limits of reason: beautiful, precise, and missing everything beyond the edge of the paper. The Ancient of Days, from the same period, depicts his mythological figure Urizen crouching at the edge of a void, reaching down with a compass to measure the darkness below.
He died on 12 August 1827, working on illustrations for Dante's Divine Comedy. He was buried at Bunhill Fields. The wider recognition came decades later.
He married Catherine Boucher in 1782. She was illiterate at the time and signed the marriage register with an X. He taught her to read, write, and engrave, and she became his collaborator for the next forty-five years: mixing paint, operating the printing press, hand-colouring plates, and binding the finished pages into covers.
Their working method was Blake's own invention, revealed to him (he said) in a dream by the spirit of his dead brother Robert. Relief etching reversed the standard printmaking process: instead of cutting lines into copper, Blake wrote and drew on the plate in acid-resistant varnish, then dissolved the surrounding metal with acid, leaving text and image raised. This allowed him to compose poetry and illustration simultaneously on a single plate, print them together, then hand-colour each sheet in watercolour. Every copy was therefore unique. Songs of Innocence and of Experience was produced this way. He sold fewer than thirty copies during his lifetime.
In 1803, he physically threw a soldier named John Schofield out of his garden in Felpham. He was charged with assault and with uttering treasonable expressions against the King. He was acquitted at the Chichester assizes in January 1804.
Newton, painted in 1795, shows the scientist as a young man with the body of a Greek god, bent forward at the bottom of a dark ocean, fixing his gaze on a pair of compasses, measuring and drawing on a scroll that appears to project from his own head. It is a painting about the limits of reason: beautiful, precise, and missing everything beyond the edge of the paper. The Ancient of Days, from the same period, depicts his mythological figure Urizen crouching at the edge of a void, reaching down with a compass to measure the darkness below.
He died on 12 August 1827, working on illustrations for Dante's Divine Comedy. He was buried at Bunhill Fields. The wider recognition came decades later.
Das könnte Ihnen auch gefallen