This new, facsimile edition of the Songs of Innocence reproduces Blake's color plates in a fashion which the artist himself would have approved. The 31 plates — printed on facing pages which are the same size of Blake's own first edition — offer one of the more brightly colored versions of this significant volume, no two copies of which are the same. As a special aid to readers, a typographical reprint of the text of poems follows the plates. Such classic "songs" as "The Lamb" and "The Chimney Sweeper" are now accessible to all in the symbiotic union of poem and picture that is crucial to a total understating of Blake's mind and art.
One of Blake's most interesting and powerful creations, The Book of Urizen represents a parody of the book of Genesis, in which the righteous figure of God is replaced by that of Urizen, the "dark power" and obstacle to spiritual life. With "the voice of honest indignation," Blake compels readers to recognize and overcome their inner adversary in order to rise to higher levels of perception.
Incredibly beautiful in its combination of words and pictures, The Book of Urizen boasts some of Blake's most magnificent designs, rich in energy and monumental grandeur. For any lover of Blake, this edition represents an inexpensive opportunity to enjoy one of his finest works, including full-color reproductions of the poet's distinctive hand-colored plates and a printed transcription of the poem.
This facsimile edition of one of Blake's celebrated "Illuminated Books" reproduces a collection of calligraphed poems, each enclosed in a masterful full-color illustration. Twenty-six plates reprinted from a rare 1826 etched edition include "London," "A Little Boy Lost," "Holy Thursday," The Voice of the Ancient Bard," and other immortal verse. To enhance reading, the texts of all the poems are transcribed separately, following the plates.
Dynamic designs and simplicity of language convey Blake's vision of mankind and his condemnation of a wealthy society insensitive to poverty and unhappiness. Moreover, its universal themes make Songs of Experience just as poignant and profound today. Lovers of literature and fine art will want to add this faithful, inexpensive facsimile of an immortal classic to their libraries.
Originally published as two books with pages illustrated by the author, Songs of Innocence and Experience has often been considered a foundational work in Romantic period literature which surely inspired poets like Coleridge, Keats, Shelley, Wordsworth and Byron in the years that followed.
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A selection of Blake's most haunting verse, including 'The Songs of Innocence and Experience'.
One of 46 new books in the bestselling Little Black Classics series, to celebrate the first ever Penguin Classic in 1946. Each book gives readers a taste of the Classics' huge range and diversity, with works from around the world and across the centuries - including fables, decadence, heartbreak, tall tales, satire, ghosts, battles and elephants.
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* Beautifully illustrated with numerous images relating to Blake's life and works
* Concise introductions to the poetry and other works
* Images of how the poetry books were first printed, giving your eReader a taste of the original texts
* Excellent formatting of the poems
* Famous poetry collections like SONGS OF INNOCENCE are fully illustrated with the text
* Special chronological and alphabetical contents tables for the poetry
* Easily locate the poems you want to read
* Includes a special 'Plates' section with Blake's complete engravings, paintings and illustrations - spend hours exploring Blake's artistic genius in over 1,100 images!
* Features two biographies - discover Blake's literary life
* Scholarly ordering of texts into chronological order and literary genres
The Poetry and Prose Books
AN ISLAND IN THE MOON
ALL RELIGIONS ARE ONE
THERE IS NO NATURAL RELIGION
SONGS OF INNOCENCE
THE BOOK OF THEL
THE MARRIAGE OF HEAVEN AND HELL
THE FRENCH REVOLUTION
VISIONS OF THE DAUGHTERS OF ALBION
AMERICA A PROPHECY
EUROPE A PROPHECY
THE FIRST BOOK OF URIZEN
SONGS OF EXPERIENCE
THE BOOK OF LOS
THE SONG OF LOS
THE BOOK OF AHANIA
THE FOUR ZOAS
MILTON A POEM
JERUSALEM: THE EMANATION OF THE GIANT ALBION
SONGS AND BALLADS FROM BLAKE'S NOTEBOOK (1793)
SATIRIC VERSES AND EPIGRAMS FROM BLAKE'S NOTEBOOK
LIST OF POEMS IN CHRONOLOGICAL ORDER
LIST OF POEMS IN ALPHABETICAL ORDER
CATALOGUE OF VISUAL WORKS
WILLIAM BLAKE by Irene Langridge
WILLIAM BLAKE by Charles Gardner
The poems of Songs of Innocence describe childhood states of naturalness and purity in delicately beautiful lyrics that reveal a child's unspoiled and beatific view of life and human nature. In Songs of Experience the mood and tone darken, the poems suggesting the bitter corruptions and disillusionment that await the innocent. The contrast between the two sets of lyrics is perhaps at its most acute in the poems "The Lamb" and "The Tyger," the latter ultimately expressing wonderment at the seemingly paradoxical coexistence of good and evil. The full texts of all the poems in the 1794 edition of both collections are included in this volume. Includes a selection from the Common Core State Standards Initiative: "The Echoing Green."
Although Blake labored in poverty and obscurity all his life, he is recognized today as one of the preeminent artists and poets of the English-speaking world. An 1825 commission from patron John Linnell enabled him to focus on illustrating Dante's tales — the type of visionary work to which his talents were ideally suited. The artist spent the last three years of his life creating these images, which range from completely finished pieces to rough sketches. Blake's highly original approach offers not only an excellent introduction to Dante's allegorical tales, but also a new and fresh perspective for those already familiar with the Divine Comedy.
Cohen first made his name as a poet more than half a century ago and since then his achievements in poetry and music have made him an internationally revered figure. These fifteen poems, including “Death of a Lady’s Man,” “On Hearing a Name Long Unspoken,” and “The Embrace,” are drawn from across his remarkable career and appear here for the first time with his illustrations. With its lyrical intensity and sensual immediacy, Fifteen Poems offers a potent distillation of the genre-crossing genius of one of the most admired artists of our time.
This book collects all 241 plates — long out of print — that Doré executed for the Bible. In these plates, reproduced from outstanding early editions, the artist not only captures the dramatic intensity of the Scriptures, but sustains it longer than any other single artist was able to do. In addition, Doré reimagined all the scenes, so that what he produced was not a mere reworking of what centuries of other artists had already done, but a new and fresh visual interpretation of the Bible.
Each plate is accompanied by the verses from the Authorized (King James) Version of the Bible that the scene depicts, and an Introduction by Millicent Rose covers Doré's life and art in general. This is a sumptuous book that everyone, from those interested in Scripture to lovers of great art, will be proud to possess.
This early autobiography, which takes him through his late thirties, is as startling and unpredictable as his art. It is superbly illustrated with over 80 photographs of Dalí and his works, and scores of Dalí drawings and sketches. On its first publication, the reviewer of Books observed: "It is impossible not to admire this painter as writer. As a whole, he . . . communicates the snobbishness, self-adoration, comedy, seriousness, fanaticism, in short the concept of life and the total picture of himself he sets out to portray."
Dalí's flamboyant self-portrait begins with his earliest recollections and ends at the pinnacle of his earliest successes. His tantalizing chapter titles and headnotes — among them "Intra-Uterine Memories," "Apprenticeship to Glory," "Permanent Expulsion from the School of Fine Arts," "Dandyism and Prison," "I am Disowned by my Family," "My Participation and my Position in the Surrealist Revolution," and "Discovery of the Apparatus for Photographing Thought" — only hint at the compelling revelations to come.
Here are fascinating glimpses of the brilliant, ambitious, and relentlessly self-promoting artist who designed theater sets, shop interiors, and jewelry as readily as he made surrealistic paintings and films. Here is the mind that could envision and create with great technical virtuosity images of serene Raphaelesque beauty one moment and nightmarish landscapes of soft watches, burning giraffes, and fly-covered carcasses the next. For anyone interested in 20th-century art and one of its most gifted and charismatic figures, The Secret Life of Salvador Dalí is must reading.
People are fascinated by artist's sketchbooks. They offer a glimpse into private pages where artists brainstorm, doodle, develop and work on ideas, and keep track of their musings. Artists use these journals to document their daily lives, produce their initial ideas for bigger projects, and practice their skills. Using a variety of media from paint to pencil to collage, these pages can become works of art themselves. They often feel fresh and alive because they are first thoughts and often not reworked. These pages capture the artist's personalities along with glimpses of their process of working and inspirations.
The first volume, which contains all of Leonardo's writings on aspects of painting, includes discussions of such basic scientific areas as the structure of the eye and vision, perspective, the science of light and shade, the perspective of disappearance, theory of color, perspective of color, proportions and movements of the human figure, botany for painters, and the elements of landscape painting. A section on the practice of painting includes moral precepts for painters and writings on composition, materials, and the philosophy of art. The second volume contains writings on sculpture, architecture (plans for towns, streets, and canals, churches, palaces, castles, and villas, theoretical writings on arches, domes, fissures, etc.), zoology, physiology (including his amazingly accurate theories of blood circulation), medicine, astronomy, geography (including has famous writings and drawings on the movement of water), topography (observations in Italy, France, and other areas), naval warfare, swimming, theory of flying machines, mining, music, and other topics.
A selection of philosophical maxims, morals, polemics, fables, jests, studies in the lives and habits of animals, tales, and prophecies display Leonardo's abilities as a writer and scholar. The second volume also contains some letters, personal records, inventories, and accounts, and concludes with Leonardo's will. The drawings include sketches and studies for some of Leonardo's greatest works of art — The Last Supper, the lost Battle of Anghiari, The Virgin of the Rocks, and the destroyed Sforza monument.
This edition reproduces all of the plates to perfection, in their original size. The illustrations and the text of the poem appear on facing pages, so that the imaginative kinship of Doré and Coleridge is delightfully evident on every page: the illustrations capture all the moods of the poem in their full intensity, bringing the images evoked by the words into clear visual focus.
Unabridged and slightly rearranged republication of the 1878 American edition. Text slightly amended to conform to the authoritative 1834 edition of the poem.
That, notwithstanding this eagerness to possess the Manuscripts, their contents remained a mystery, can only be accounted for by the many and great difficulties attending the task of deciphering them. The handwriting is so peculiar that it requires considerable practice to read even a few detached phrases, much more to solve with any certainty the numerous difficulties of alternative readings, and to master the sense as a connected whole. Vasari observes with reference to Leonardos writing: "he wrote backwards, in rude characters, and with the left hand, so that any one who is not practised in reading them, cannot understand them". The aid of a mirror in reading reversed handwriting appears to me available only for a first experimental reading. Speaking from my own experience, the persistent use of it is too fatiguing and inconvenient to be practically advisable, considering the enormous mass of Manuscripts to be deciphered. And as, after all, Leonardo's handwriting runs backwards just as all Oriental character runs backwards—that is to say from right to left—the difficulty of reading direct from the writing is not insuperable. This obvious peculiarity in the writing is not, however, by any means the only obstacle in the way of mastering the text. Leonardo made use of an orthography peculiar to himself; he had a fashion of amalgamating several short words into one long one, or, again, he would quite arbitrarily divide a long word into two separate halves; added to this there is no punctuation whatever to regulate the division and construction of the sentences, nor are there any accents—and the reader may imagine that such difficulties were almost sufficient to make the task seem a desperate one to a beginner. It is therefore not surprising that the good intentions of some of Leonardo s most reverent admirers should have failed.
Leonardo's literary labours in various departments both of Art and of Science were those essentially of an enquirer, hence the analytical method is that which he employs in arguing out his investigations and dissertations. The vast structure of his scientific theories is consequently built up of numerous separate researches, and it is much to be lamented that he should never have collated and arranged them. His love for detailed research—as it seems to me—was the reason that in almost all the Manuscripts, the different paragraphs appear to us to be in utter confusion; on one and the same page, observations on the most dissimilar subjects follow each other without any connection. A page, for instance, will begin with some principles of astronomy, or the motion of the earth; then come the laws of sound, and finally some precepts as to colour. Another page will begin with his investigations on the structure of the intestines, and end with philosophical remarks as to the relations of poetry to painting; and so forth.
Leonardo himself lamented this confusion, and for that reason I do not think that the publication of the texts in the order in which they occur in the originals would at all fulfil his intentions. No reader could find his way through such a labyrinth; Leonardo himself could not have done it.
Leonardo Da Vinci, Born on April 15, 1452, in Vinci, Italy, Leonardo da Vinci was concerned with the laws of science and nature, which greatly informed his work as a painter, sculptor, inventor and draftsmen. His ideas and body of work—which includes "Virgin of the Rocks," "The Last Supper," "Leda and the Swan" and "Mona Lisa"—have influenced countless artists and made da Vinci a leading light of the Italian Renaissance.
"Iron rusts from disuse, stagnant water loses its purity and in cold weather becomes frozen; even so does inaction sap the vigor of the mind."
– Leonardo da Vinci
Leonardo da Vinci was born on April 15, 1452, in Vinci, Italy. Born out of wedlock, the love child of a respected notary and a young peasant woman, he was raised by his father, and his stepmothers.
'The Last Supper'
In 1482, Lorenzo de' Medici, a man from a prominent Italian family, commissioned da Vinci to create a silver lyre and bring it to Ludovico il Moro, the Duke of Milan, as a gesture of peace. Da Vinci did so and then wrote Ludovico a letter describing how his engineering and artistic talents would be of great service to Ludovico's court. His letter successfully endeared him to Ludovico, and from 1482 until 1499, Leonardo was commissioned to work on a great many projects. It was during this time that da Vinci painted "The Last Supper."
Da Vinci's most well-known painting, and arguably the most famous painting in the world, the "Mona Lisa," was a privately commissioned work and was completed sometime between 1505 and 1507. Of the painting's wide appeal, James Beck, an art historian at Columbia University, once explained, "It is the inherent spirituality of the human creature that Leonardo was able to ingenuine to the picture that raises the human figure to some kind of majesty."
It's been said that the Mona Lisa had jaundice, that she was a pregnant woman and that she wasn't actually a woman at all, but a man in drag. Based on accounts from an early biographer, however, the "Mona Lisa" is a picture of Lisa Gioconda, the real-life wife of a merchant, but that's far from certain. For da Vinci, the "Mona Lisa" was forever a work in progress, as it was his attempt at perfection. The painting was never delivered to its commissioner; da Vinci kept it with him until the end of his life. Today, the "Mona Lisa" hangs in the Louvre Museum in Paris, France, secured behind bulletproof glass, and is regarded as a priceless national treasure.
This collection, excellently reproduced in black-and-white, is representative of Leonardo's various achievements in many drawing media. Among the selections are drawings of plants, landscapes, animals, battles, weapons, and the human face and figure, as well as studies for later paintings or sculpture: a full compositional study for The Adoration of the Magi, a study for the angel's head in The Virgin of the Rocks, studies of horses for the Sforza monument, studies for The Last Supper, studies for The Battle of Anghiari, and an early cartoon for The Madonna with St. Anne.