Open Daily : 10:00am - 6:00pm
Tate Britain presents the largest survey of work by William Blake (1757-1827) in the UK for a generation. A visionary painter, printmaker and poet, Blake created some of the most iconic images in the history of British art and has remained an inspiration to artists, musicians, writers and performers worldwide for over two centuries. This ambitious exhibition brings together over 300 remarkable and rarely seen works and rediscovers Blake as a visual artist for the 21st century.
Tate Britain reimagines the artist’s work as he intended it to be experienced. Blake’s art was a product of his tumultuous times, with revolution, war and progressive politics acting as the crucible of his unique imagination, yet he struggled to be understood and appreciated during his life. Now renowned as a poet, Blake also had grand ambitions as a visual artist and envisioned vast frescos that were never realised. For the first time, The Spiritual Form of Nelson Guiding Leviathan c.1805-9 and The Spiritual Form of Pitt Guiding Behemoth c.1805 have been enlarged and projected onto the gallery wall on the huge scale that Blake imagined. The original artworks are displayed nearby in a restaging of Blake’s ill-fated exhibition of 1809, the artist’s only significant attempt to create a public reputation for himself as a painter. Tate has recreated the domestic room above his family hosiery shop in which the show was held, allowing visitors to encounter the paintings exactly as people did over 200 years ago.
The exhibition also provides a vivid biographical framework in which to consider Blake’s life and work. There is a focus on London, the city in which he was born and lived for most of his life. The burgeoning metropolis was a constant source of inspiration for the artist, offering an environment in which harsh realities and pure imagination were woven together. Blake’s creative freedom was also dependent on the unwavering support of those closest to him: his friends, family and patrons. Tate Britain highlights the vital presence of his wife Catherine Blake who offered both practical assistance and became an unacknowledged hand in the production of the artist’s engravings and illuminated books. The exhibition showcases a series of illustrations to Pilgrim's Progress 1824-27 and a copy of the book The complaint, and the consolation Night Thoughts 1797, now thought to be coloured by Catherine.
Image caption: William Blake 'Europe' Plate i: Frontispiece, 'The Ancient of Days' 1827 (?) (c) The Whitworth, The University of Manchester
Share this page on your social media...