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.
Illustration till Edward Youngs Nattankar - William Blake
Ordinarie pris
£28.00 GBP
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£28.00 GBP
Ordinarie pris
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Beskrivning
En detaljerad gravyr av William Blake från hans serie från 1797 som illustrerar Edward Youngs dikt, Night Thoughts.
Denna gravyr är en plåt från 1797 års upplaga av Edward Youngs dikt, Night Thoughts, illustrerad av William Blake. Verket visar den karakteristiska syntesen av text och bild som definierar Blakes förhållningssätt till bokproduktion. Det centrala blocket av text är omgivet av en flytande, fantasifull komposition som sträcker sig ut i sidans marginaler.
Blake använder här ett distinkt visuellt språk, med långsträckta figurer och eteriska, molnlika former som antyder ett drömlikt eller visionärt tillstånd. Längst ner på sidan vilar en figur, som blickar uppåt mot en himmelsk häst som stiger fram ur en virvlande, atmosfärisk bakgrund. Linjekvaliteten är exakt, typisk för de kopparstickstekniker Blake använde för att överföra sina egna akvarelldesigner till tryck. Kompositionen balanserar den stela geometrin i den tryckta texten med de organiska, flödande linjerna i de omgivande figurerna och naturelementen.
Denna serie illustrationer representerar ett betydande samarbete mellan poeten Edward Young och konstnären. Blake fick i uppdrag av förläggaren Richard Edwards att skapa en serie designar för dikten, som han sedan graverade själv. Det resulterande verket är en fusion av 1700-talets moraliserande poesi och den idiosynkratiska, visionära estetiken från romantiken. Bildspråket dekorerar inte bara texten utan engagerar sig i teman som dödlighet, natur och mänskligt tillstånd som presenteras i Youngs verser. Den monokroma paletten fokuserar betraktarens uppmärksamhet på samspelet mellan ljus och skugga, vilket skapar en känsla av djup inom bokens tvådimensionella utrymme. Detta tryck erbjuder en inblick i skärningspunkten mellan litteratur och bildkonst i slutet av 1700-talets Storbritannien, vilket speglar periodens intresse för det sublima och det andliga.
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Tillverkning
Varje tryck produceras på beställning med 12-färgs gicléetryck på FSC-certifierat arkivpapper. Designade i Storbritannien och tryckta vid närmaste produktionsanläggning för att minska avfall och snabba upp leveransen.
Care and materials
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
Komplettera looken
Illustration till Edward Youngs Nattankar - William Blake
Ordinarie pris
Från £28.00 GBP
Reapris
Från £28.00 GBP
Ordinarie pris
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.
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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.
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