| Description |
1 online resource (xxiii, 246 pages, 16 unnumbered pages of plates) : illustrations (some color) |
| Series |
Library of Modern Religion ; 57 |
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Library of modern religion ; 57.
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| Contents |
Front Cover; Author Biography; Title; Copyright; Dedication; Contents; List of Illustrations; Abbreviations; Notes on Quotations; Preface; Introduction; Blakeanisms; Blake's Theory of Art and Romantic Aesthetics; Religious Art in Blake's Time; Blake's Work as an Artist; Five Themes in Blake's Religious Aesthetic; 1. Regeneration: Resurrection and Apocalypse in Night Thoughts (1795-7); Blake's Night Thoughts; Resurrection and Apocalypse in Night Thoughts; Conclusion; 2. Inspiration: Illumination and Prophecy in the Biblical Temperas (1799-1800); The Butts Biblical Temperas |
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The Nativity Narratives in Blake's OeuvreThe Infancy of Christ in the Biblical Temperas; Conclusion; 3. Facilitator: Ministry as Community-Building in the Biblical Watercolours (1800-6); The Butts Biblical Watercolours; Conclusion; 4. Eternal: Christ as Universal Human Form Divine (Works of 1805-c.1811); Christ in Cosmic History in Paradise Lost; Emblems of Judgement; Icons of Divine Humanity; An Allegory of the Spiritual Condition of Man; Conclusion; 5. Iconoclasm: Crucifixion as Self-Annihilation in Late Works (1804-27); The Crucifixion in Art; The Crucifixion in Blake's Oeuvre |
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Jerusalem 76 and Michael Foretells the CrucifixionEnvisioning the Crucifixion in Bunyan and Dante; Conclusion; Conclusion; Notes; Bibliography; Index; Back Cover |
| Summary |
"William Blake (1757-1827) is considered one of the most singular and brilliant talents that England has ever produced. Celebrated now for the originality of his thinking, painting and verse, he shocked contemporaries by rejecting all forms of organized worship even while adhering to the truth of the Bible. But how did he come to equate Christianity with art? How did he use images and paint to express those radical and prophetic ideas about religion which he came in time to believe? And why did he conceive of Christ himself as an artist: in fact, as the artist, par excellence? These are among the questions which Naomi Billingsley explores in her subtle and wide-ranging new study in art, religion and the history of ideas. Suggesting that Blake expresses through his representations of Jesus a truly distinctive theology of art, and offering detailed readings of Blake's paintings and biblical commentary, she argues that her subject thought of Christ as an artist-archetype. Blake's is thus a distinctively 'Romantic' vision of art in which both the artist and his saviour fundamentally change the way that the world is perceived."--Jacket flap |
| Bibliography |
Includes bibliographical references (pages 226-238) and index |
| Notes |
Restricted: Printing from this resource is governed by The Legal Deposit Libraries (Non-Print Works) Regulations (UK) and UK copyright law currently in force. WlAbNL |
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Print version record |
| Subject |
Blake, William, 1757-1827 -- Criticism and interpretation
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Blake, William, 1757-1827 -- Religion
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| SUBJECT |
Blake, William, 1757-1827 fast |
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Blake, William 1757-1827 gnd |
| Subject |
Christianity and art.
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ART -- Performance.
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ART -- Reference.
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Christianity and art
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Religion
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Christliche Kunst
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Kunst
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| Genre/Form |
Criticism, interpretation, etc.
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| Form |
Electronic book
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| ISBN |
9781838609658 |
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1838609652 |
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9781838609665 |
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1838609660 |
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