Although Blake was considered mad by contemporaries for his idiosyncratic views, he came to be highly regarded by later critics and readers for his expressiveness and creativity, and for the philosophical and mystical undercurrents within his work. His paintings and poetry have been characterised as part of the Romantic movement and as "Pre-Romantic".[6] A theist who preferred his own Marcionite style of theology,[7][8] he was hostile to the Church of England (indeed, to almost all forms of organised religion), and was influenced by the ideals and ambitions of the French and American revolutions.[9][10] Although later he rejected many of these political beliefs, he maintained an amicable relationship with the political activist Thomas Paine; he was also influenced by thinkers such as Emanuel Swedenborg.[11] Despite these known influences, the singularity of Blake's work makes him difficult to classify. The 19th-century scholar William Michael Rossetti characterised him as a "glorious luminary",[12] and "a man not forestalled by predecessors, nor to be classed with contemporaries, nor to be replaced by known or readily surmisable successors".[13]
William Blake was born on 28 November 1757 at 28 Broad Street (now Broadwick Street) in Soho, London. He was the third of seven children,[15][16] two of whom died in infancy. Blake's father, James, was a hosier,[16] who had lived in London.[17] He attended school only long enough to learn reading and writing, leaving at the age of 10, and was otherwise educated at home by his mother Catherine Blake (ne Wright).[18] Even though the Blakes were English Dissenters,[19] William was baptised on 11 December at St James's Church, Piccadilly, London.[20] The Bible was an early and profound influence on Blake, and remained a source of inspiration throughout his life. Blake's childhood, according to him, included mystical religious experiences such as "beholding God's face pressed against his window, seeing angels among the haystacks, and being visited by the Old Testament prophet Ezekiel."[21]
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Blake started engraving copies of drawings of Greek antiquities purchased for him by his father, a practice that was preferred to actual drawing. Within these drawings Blake found his first exposure to classical forms through the work of Raphael, Michelangelo, Maarten van Heemskerck and Albrecht Drer. The number of prints and bound books that James and Catherine were able to purchase for young William suggests that the Blakes enjoyed, at least for a time, a comfortable wealth.[19] When William was ten years old, his parents knew enough of his headstrong temperament that he was not sent to school but instead enrolled in drawing classes at Henry Pars' drawing school in the Strand.[22] He read avidly on subjects of his own choosing. During this period, Blake made explorations into poetry; his early work displays knowledge of Ben Jonson, Edmund Spenser, and the Psalms.
On 4 August 1772, Blake was apprenticed to engraver James Basire of Great Queen Street, at the sum of 52.10, for a term of seven years.[16] At the end of the term, aged 21, he became a professional engraver. No record survives of any serious disagreement or conflict between the two during the period of Blake's apprenticeship, but Peter Ackroyd's biography notes that Blake later added Basire's name to a list of artistic adversaries; and then crossed it out.[23] This aside, Basire's style of line-engraving was of a kind held at the time to be old-fashioned compared to the flashier stipple or mezzotint styles.[24] It has been speculated that Blake's instruction in this outmoded form may have been detrimental to his acquiring of work or recognition in later life.[25]
After two years, Basire sent his apprentice to copy images from the Gothic churches in London (perhaps to settle a quarrel between Blake and James Parker, his fellow apprentice). His experiences in Westminster Abbey helped form his artistic style and ideas. The Abbey of his day was decorated with suits of armour, painted funeral effigies and varicoloured waxworks. Ackroyd notes that "...the most immediate [impression] would have been of faded brightness and colour".[26] This close study of the Gothic (which he saw as the "living form") left clear traces in his style.[27] In the long afternoons Blake spent sketching in the Abbey, he was occasionally interrupted by boys from Westminster School, who were allowed in the Abbey. They teased him and one tormented him so much that Blake knocked the boy off a scaffold to the ground, "upon which he fell with terrific Violence".[28] After Blake complained to the Dean, the schoolboys' privilege was withdrawn.[27] Blake claimed that he experienced visions in the Abbey. He saw Christ with his Apostles and a great procession of monks and priests, and heard their chant.[27]
On 8 October 1779, Blake became a student at the Royal Academy in Old Somerset House, near the Strand.[29] While the terms of his study required no payment, he was expected to supply his own materials throughout the six-year period. There, he rebelled against what he regarded as the unfinished style of fashionable painters such as Rubens, championed by the school's first president, Joshua Reynolds. Over time, Blake came to detest Reynolds' attitude towards art, especially his pursuit of "general truth" and "general beauty". Reynolds wrote in his Discourses that the "disposition to abstractions, to generalising and classification, is the great glory of the human mind"; Blake responded, in marginalia to his personal copy, that "To Generalize is to be an Idiot; To Particularize is the Alone Distinction of Merit".[30] Blake also disliked Reynolds' apparent humility, which he held to be a form of hypocrisy. Against Reynolds' fashionable oil painting, Blake preferred the Classical precision of his early influences, Michelangelo and Raphael.
David Bindman suggests that Blake's antagonism towards Reynolds arose not so much from the president's opinions (like Blake, Reynolds held history painting to be of greater value than landscape and portraiture), but rather "against his hypocrisy in not putting his ideals into practice."[31] Certainly Blake was not averse to exhibiting at the Royal Academy, submitting works on six occasions between 1780 and 1808.
Blake became a friend of John Flaxman, Thomas Stothard and George Cumberland during his first year at the Royal Academy. They shared radical views, with Stothard and Cumberland joining the Society for Constitutional Information.[32]
Blake's first biographer, Alexander Gilchrist, records that in June 1780 Blake was walking towards Basire's shop in Great Queen Street when he was swept up by a rampaging mob that stormed Newgate Prison.[33] The mob attacked the prison gates with shovels and pickaxes, set the building ablaze, and released the prisoners inside. Blake was reportedly in the front rank of the mob during the attack. The riots, in response to a parliamentary bill revoking sanctions against Roman Catholicism, became known as the Gordon Riots and provoked a flurry of legislation from the government of George III, and the creation of the first police force.[citation needed]
In 1781 Blake met Catherine Boucher[34] 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 Mary's 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.[35] The marriage was successful and Catherine became Blake's "partner in both life and work", undertaking important roles as an engraver and colorist. In 2019 Tate Britain's Blake exhibition gave particular focus to Catherine's role in Blake's work.[36]
In 1784, after his father's death, Blake and former fellow apprentice James Parker opened a print shop. They began working with radical publisher Joseph Johnson.[38] Johnson's 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;[39] early feminist Mary Wollstonecraft; and English-American 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. That same year, Blake composed his unfinished manuscript An Island in the Moon (1784).[citation needed]
Blake illustrated Original Stories from Real Life (2nd edition, 1791) by Mary Wollstonecraft. Although they seem to have shared some views on sexual equality and the institution of marriage, no evidence is known that would prove that they had met. In Visions of the Daughters of Albion (1793), Blake condemned the cruel absurdity of enforced chastity and marriage without love and defended the right of women to complete self-fulfillment.[citation needed]
From 1790 to 1800, William Blake lived in North Lambeth, London, at 13 Hercules Buildings, Hercules Road.[40] The property was demolished in 1918, but the site is now marked with a plaque.[41] A series of 70 mosaics commemorates Blake in the nearby railway tunnels of Waterloo Station.[42][43][44] The mosaics largely reproduce illustrations from Blake's illuminated books, The Songs of Innocence and of Experience, The Marriage of Heaven and Hell, and the prophetic books.[44]
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 manuscripts. He then etched the plates in acid to dissolve the untreated copper and leave the design standing in relief (hence the name). 152ee80cbc
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