He was a painter, printmaker and poet but was not recognised during his lifetime. In 2002 he was placed at 38 in the BBCs poll of the 100 Greatest Britons and is now considered as highly influential in the history of the visual arts and poetry of the Romantic Age.
He was born in London in the town of Soho. He was born in 1757 and lived to be 70.
He was well known for: Painting Poetry Printmaking Etching Painting Poetry Printmaking
Blake met Catherine Boucher in 1782 when he was recovering from a relationship that had culminated in a refusal of his marriage proposal. He recounted the story of his heartbreak for Catherine and her parents, after which he asked Catherine, Do you pity me? When she responded affirmatively, he declared, Then I love you. Blake married Catherine – who was five years his junior – on 18 August 1782 in St Marys Church, Battersea. Illiterate, Catherine signed her wedding contract with an X. The original wedding certificate may be viewed at the church, where a commemorative stained-glass window was installed between 1976 and 1982. Later, in addition to teaching Catherine to read and write, Blake trained her as an engraver. Throughout his life she proved an invaluable aid, helping to print his illuminated works and maintaining his spirits throughout numerous misfortunes.
Blakes first collection of poems, Poetical Sketches, was printed around 1783. After his fathers death, Blake and former fellow apprentice James Parker opened a print shop in 1784, and began working with radical publisher Joseph Johnson. Johnsons house was a meeting-place for some leading English intellectual dissidents of the time: theologian and scientist Joseph Priestley, philosopher Richard Price, artist John Henry Fuseli, early feminist Mary Wollstonecraft and English revolutionary Thomas Paine. Along with William Wordsworth and William Godwin, Blake had great hopes for the French and American revolutions and wore a Phrygian cap in solidarity with the French revolutionaries, but despaired with the rise of Robespierre and the Reign of Terror in France. In 1784 Blake composed his unfinished manu An Island in the Moon.
Blake illustrated Original Stories from Real Life (2nd edition, 1791) by Mary Wollstonecraft. They seem to have shared some views on sexual equality and the institution of marriage, but there is no evidence proving that they met. In 1793s Visions of the Daughters of Albion, Blake condemned the cruel absurdity of enforced chastity and marriage without love and defended the right of women to complete self-fulfilment.
From 1790 to 1800, William Blake lived in North Lambeth, London, at 13 Hercules Buildings, Hercules Road. The property was demolished in 1918, but the site is now marked with a plaque. There is a series of 70 mosaics commemorating Blake in the nearby railway tunnels of Waterloo Station. The mosaics largely reproduce illustrations from Blakes illuminated books, The Songs of Innocence and Experience, The Marriage of Heaven and Hell, and the prophetic books.
In 1788, aged 31, Blake experimented with relief etching, a method he used to produce most of his books, paintings, pamphlets and poems. The process is also referred to as illuminated printing, and the finished products as illuminated books or prints. Illuminated printing involved writing the text of the poems on copper plates with pens and brushes, using an acid-resistant medium. Illustrations could appear alongside words in the manner of earlier illuminated manus. He then etched the plates in acid to dissolve the untreated copper and leave the design standing in relief (hence the name).
This is a reversal of the usual method of etching, where the lines of the design are exposed to the acid, and the plate printed by the intaglio method. Relief etching (which Blake referred to as stereotype in The Ghost of Abel) was intended as a means for producing his illuminated books more quickly than via intaglio. Stereotype, a process invented in 1725, consisted of making a metal cast from a wood engraving, but Blakes innovation was, as described above, very different. The pages printed from these plates were hand-coloured in water colours and stitched together to form a volume. Blake used illuminated printing for most of his well-known works, including Songs of Innocence and of Experience, The Book of Thel, The Marriage of Heaven and Hell and Jerusalem.
Although Blake has become better known for his relief etching, his commercial work largely consisted of intaglio engraving, the standard process of engraving in the 18th century in which the artist incised an image into the copper plate, a complex and laborious process, with plates taking months or years to complete, but as Blakes contemporary, John Boydell, realised, such engraving offered a missing link with commerce, enabling artists to connect with a mass audience and became an immensely important activity by the end of the 18th century.
Blake employed intaglio engraving in his own work, such as for the illustrations of the Book of Job, completed just before his death. Most critical work has concentrated on Blakes relief etching as a technique because it is the most innovative aspect of his art, but a 2009 study drew attention to Blakes surviving plates, including those for the Book of Job: they demonstrate that he made frequent use of a technique known as repoussage, a means of obliterating mistakes by hammering them out by hitting the back of the plate. Such techniques, typical of engraving work of the time, are very different to the much faster and fluid way of drawing on a plate that Blake employed for his relief etching, and indicates why the engravings took so long to complete.
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