Christian Art and Iconography Guide: Blake

The author provides a wealth of new information on Blake's apprenticeship in reproductive engraving, on his graphic styles and techniques in both his original and copy prints, on the dating of his most important intaglio plates, on his theories of appropriate form" in the graphic arts, and on the significance of printmaking imagery in his poems. In addition, he offers a thorough explanation of Blake's unique methods of relief etching based on a careful study of the original impressions and on his own experiments with Blake's techniques. Professor Essick concludes with a discussion of Blake's final graphic masterpieces - the Job, Dante, and Virgil prints - which he views as the successful culmination of Blake's long struggle to use his professional craft to embody his highest aspirations as an artist.

Extensive in its range, yet penetrating,the commentary makes an exciting introduction both for specialists and general students of literature or art. Blake's work is set in context by chapters on medieval illumination, on the art of the High Renaissance, on the emblem of the seventeenth century, and on Blake's own contemporaries. The many illustrations Mr. Hagstrum has chosen include some of the works of Durer, Raphael, and others who inspired Blake.

"Illustrations of the Book of Job" was Blake's third attempt, and his most successful, to produce a book without text of his own. His first attempt to convey his message primarily by a series of pictures was "The Gates of Paradise"(1793), to which he subsequently added explanatory verses(ca.1818). He also illustrated an edition of Robert Blair's poem The Grave, which appeared in 1808. Although produced while Blake was still working on his most obscure book, "Jerusalem", Job is perhaps his most lucid. Blake's early and prolonged interest in the trials of Job is proved by a variety of drawings, paintings, engravings, quotations, and comments, starting about 1785. In "The Marriage of Heaven and Hell" he made the startling statement that the idea of "Paradise Lost" is the same as that of the Book of Job, but that Milton so misunderstood the meaning that his Messiah is really Job's Satan. About 1820 Blake made for Thomas Butts the first set of water colors illustrating the entire book. In 1821 he made a second set for John Linnell, and then a third, smaller set for one of Linnell's pupils. The engravings, which are reproduced here in full scale, were then commissioned by Linnell. They are dated March 8,1825.

All of Blake's illustrations for the "Divine Comedy" are collected here in one volume - watercolors, pencil sketches, and engravings. Many of the illustrations are published here for the first time in color. In this unique presentation, each illustration is accompanied by an appropriate selection from the "Divine Comedy", newly translated by Milton Klonsky. Klonsky, author of "William Blake: The Seer and His Visions", also provides a brilliant introduction that traces Blake's last years and his struggle to finish the illustrations before his death. Each illustration is fully annotated and explained in Mr. Klonsky's commentaries, providing insight into both Blake and Dante as outstanding visionary artists. The beauty of Blake's artistic vision combined with the power of Dante's literary masterpiece make "Blake's Dante" an important and original work.

From 1974 to 1979, Rowland was Lecturer in Religious Studies (with special responsibility for New Testament studies) at the University of Newcastle upon Tyne. From 1979 to 1997, he served as Fellow and Dean of Jesus College, and University of Cambridge. Since that time, he has held the Dean Ireland's professorship at Oxford University. From 1998 to 2000, he served as chair of the Faculty Board of Theology. Rowland has published widely across the fields of New Testament and Christian origins, where he has had a special interest in apocalyptic, and liberation theology. His many books and articles testify to the broad range of his interests, including in recent years a number of important contributions to the emerging fields of the history of biblical exegesis, as well as the reception history of the Bible.