2024-03-28T16:58:19Zhttp://harvester-bl.britishart.yale.edu/oaicatmuseum/OAIHandleroai:tms.ycba.yale.edu:23392024-03-27ycba:pd
YCBA/lido-TMS-2339
http://www.cidoc-crm.org/cidoc-crm/E22_Human-Made_Object
Human-Made Object
300410510
literary theme
300041338
intaglio print
300078925
watercolor
300041273
Print
Young's Night Thoughts, Page 87, "Is lost in love! thou great Philanthropist"
Verso: Young's Night Thoughts, Page 88, "But for the blessing wrestle not with heaven"
The Complaint and The Consolation; or, Night Thoughts, by Edward Young
500303557
Yale Center for British Art
http://britishart.yale.edu
B1978.43.1413
Not on view
Yale Center for British Art
41.3080060, -72.9306282
Bentley 515: Copy Q
16 3/4 inches (42.5 cm)
height
cm
42.5
Spine
16 1/2 x 12 7/8 inches (41.9 x 32.7 cm)
width
cm
32.7
height
cm
41.9
Sheet
15 3/4 x 12 5/8 inches (40 x 32.1 cm)
height
cm
40.0
width
cm
32.1
Plate
2339
300054713
production
Print made by William Blake, 1757–1827, British
ycba_actor_248
http://isni-url.oclc.nl/isni/000000012096135X
http://id.ndl.go.jp/auth/ndlna/00433456
http://en.wikipedia.org/wiki/William_Blake
http://d-nb.info/gnd/118511513
http://catalogo.bne.es/uhtbin/authoritybrowse.cgi?action=display&authority_id=XX853571
http://id.loc.gov/authorities/names/n78095331
http://libris.kb.se/resource/auth/178705
https://n2t.net/ark:/99166/w6h132g2
http://viaf.org/viaf/54144439
http://www.idref.fr/026730626/id
http://vocab.getty.edu/ulan/500012489
https://www.wikidata.org/wiki/Q41513
Uil'iam Bleik
William Blake
Blake, William, 1757-1827
Blake William, 1757–1827
William Blake, 1757–1827
Print made by William Blake, 1757–1827
7011413
7011781
7011781
British
1757
1827
male
300025103
Artist
300112172
draftsman (artist)
300025165
engraver (printmaker)
300025513
poet
300025164
printmaker
300025136
painter
300025157
watercolorist
300025569
philosopher
300025492
writer
300025123
illustrator
Print made by
300111159
British
ca. 1797
1792
1802
22
18th century
Etching and line engraving with watercolor on moderately thick, slightly textured, cream wove paper
300053231
line engraving
300053241
etching (printing process)
300014187
wove paper
300015045
watercolor
The Romantic Print in the Age of Revolutions: Hero, Hero-Worship, and the Heroic in History (Yale Center for British Art, 2003-01-23 - 2003-06-01)
182
https://britishart.yale.edu/node/681
https://britishart.yale.edu/node/681
300054766
exhibition
The Romantic Print in the Age of Revolutions: Hero, Hero-Worship, and the Heroic in History
Yale Center for British Art
Yale Center for British Art
ycba_actor_1281
http://vocab.getty.edu/ulan/500303557
https://www.wikidata.org/wiki/Q6352575
http://id.loc.gov/authorities/names/n77005277
https://viaf.org/viaf/155449049
YCBA
BAC
Yale Center for British Art
British Art Center
1977
0
300025633
Curator
2003-01-23 - 2003-06-01
2003-01-23
2003-06-01
Yale Center for British Art
ycba_actor_1281
http://id.loc.gov/authorities/names/n77005277
http://vocab.getty.edu/ulan/500303557
https://viaf.org/viaf/155449049
https://www.wikidata.org/wiki/Q6352575
Yale Center for British Art
New Haven
7014210
New Haven
300435424
Continuing the comprehensive exploration of British Romantic printmaking begun with The Romantic Landscape Print (September 25–December 29, 2002), this exhibition was selected from the Center’s collections to complement Romantics & Revolutionaries. The exhibition focused on portrait, subject, and narrative prints, investigating themes such as the cult of the hero in the Romantic period, the relationship between literature and the visual arts, and the depiction of contemporary historical events, such as the American and French Revolutions, and the Napoleonic Wars. Among the artists featured were Benjamin West, Henry Fuseli, and J. M. W. Turner, the great visionary artist-engravers William Blake and John Martin, and the subversive twenty-first century heirs of Romanticism, Jake and Dinos Chapman. Special emphasis was placed on techniques and processes. — —
Credits — —
The exhibition was organized by Gillian Forrester, Associate Curator of Prints and Drawings at the Center, and Eric Stryker, doctoral candidate in the History of Art, Yale University. — —
Yale Center for British Art
The Human Form Divine - William Blake from the Paul Mellon Collection (Yale Center for British Art, 1997-04-02 - 1997-07-06)
635
https://britishart.yale.edu/node/716
300054766
exhibition
The Human Form Divine - William Blake from the Paul Mellon Collection
Yale Center for British Art
Yale Center for British Art
ycba_actor_1281
https://viaf.org/viaf/155449049
http://id.loc.gov/authorities/names/n77005277
https://www.wikidata.org/wiki/Q6352575
http://vocab.getty.edu/ulan/500303557
BAC
YCBA
Yale Center for British Art
British Art Center
1977
0
63
Organizer
1997-04-02 - 1997-07-06
1997-04-02
1997-07-06
Yale Center for British Art
ycba_actor_1281
http://id.loc.gov/authorities/names/n77005277
http://vocab.getty.edu/ulan/500303557
https://viaf.org/viaf/155449049
https://www.wikidata.org/wiki/Q6352575
Yale Center for British Art
New Haven
7014210
New Haven
300435424
In the spring of 1997, the Center celebrated its twentieth anniversary with an exhibition of its incomparable collection of illuminated books, engravings, and drawings by William Blake. The Center’s founder, Paul Mellon (Yale College, Class of 1929), assembled a rich and remarkable group of works over a lifetime of personal involvement with the poetry and art of this romantic paragon. For this comprehensive survey of the collection, several of the Center’s twelve illuminated books were exhibited in their entirety for the first time. These included Blake’s masterwork, the unique, colored copy of Jerusalem, two copies of the pastoral Songs of Innocence, and the prophetic Songs of Experience, Book of Urizen, Book of Thel, and America a Prophecy. Blake’s work as a painter was represented by individual tempera paintings from his series of illustrations to the Bible commissioned by Thomas Butts. A generous selection of forty sheets from the watercolor illustrations to the Poems of Thomas Gray revealed the magnificent range of Blake’s interpretive genius and the brilliance of his watercolor technique. — —
Credits — —
Patrick Noon, Curator of Prints, Drawings, and Rare Books at the Center, organized this special exhibition, which was accompanied by a catalogue illustrated in color.
Yale Center for British Art
2339
300157782
acquisition
Yale Center for British Art
ycba_actor_1281
YCBA
BAC
Yale Center for British Art
British Art Center
1977
0
300203630
Owner
1978
1978
1978
300138913
gift
300025928
ycba_term_7001
men
300379263
ycba_term_2036495
beard
300025945
ycba_term_114139
children
300025943
ycba_term_7002
women
ycba_term_2046880
literary theme
300250810
ycba_term_16788
text
300055603
500303557
Yale Center for British Art
https://britishart.yale.edu
Yale Center for British Art, Paul Mellon Collection
300055598
Public Domain
300435434
https://creativecommons.org/publicdomain/zero/1.0/
2339
300133025
Volume
500303557
Yale Center for British Art
http://britishart.yale.edu
https://collections.britishart.yale.edu/catalog/tms:2339
oai:tms.ycba.yale.edu:2339
https://manifests.collections.yale.edu/v2/ycba/obj/2339
https://manifests.collections.yale.edu/ycba/obj/2339
IIIF manifest
Yale Center for British Art
500303557
Yale Center for British Art