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 Nattliga tankar, sida 13 – William Blake
Ordinarie pris
£28.00 GBP
Reapris
£28.00 GBP
Ordinarie pris
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Beskrivning
Ett konsttryck av William Blakes illustration till Edward Youngs Night Thoughts, med en delikat gravyr av en nedstigande figur ovanför en mor och ett barn.
Denna gravyr kommer från William Blakes ambitiösa projekt att illustrera Edward Youngs dikt, Night Thoughts. Kommissonerad av förläggaren Richard Edwards, involverade serien att Blake skapade hundratals akvarellteckningar runt den tryckta texten. Denna specifika sida visar en dramatisk motsättning mellan den textuella meditationen över dödligheten och Blakes visuella tolkning av ämnet.
I den övre delen av kompositionen stiger en skäggig, eterisk figur ner med en pil, som representerar dödens oundviklighet. Nedanför avbildas en mor och ett barn i en stilla intimitet, omedvetna om den närmande figuren. Blake använder fina, delikata linjer för att definiera formerna, vilket skapar en känsla av tyngdlöshet för den nedstigande anden. Kompositionen balanseras av det rektangulära textblocket, som fungerar som ett strukturellt ankare för de mer flytande, fantasifulla elementen i teckningen.
Blakes förhållningssätt till texten är inte bara dekorativt. Han engagerar sig i diktens teman, som utforskar mänsklig strävans fåfänga och dödens visshet. Kontrasten mellan den skarpa, aggressiva hållningen hos figuren ovan och de mjuka, rundade formerna hos modern och barnet nedan skapar en visuell spänning som speglar de filosofiska frågorna i Youngs verser. Verket visar Blakes tekniska skicklighet inom gravyr och hans förmåga att integrera visuell berättelse med komplexa litterära teman. Detta tryck ger en inblick i samarbetsprocessen mellan poet och konstnär, där den visuella tolkningen ger en ny dimension till det skrivna ordet. Den monokroma paletten fokuserar betraktarens uppmärksamhet på precisionen i linjearbetet och den känslomässiga kvaliteten hos figurerna, vilket är karakteristiskt för Blakes grafiska produktion under denna period.
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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 Nattliga tankar, sida 13 – 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.
Made to order
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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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