威廉·布莱克全部影视作品
首发于 qinglite.cn，统计截止日：2024-12-28
 只有死亡的想法，恐惧毁灭 | - |
| 神圣家族（在真理圈中也被称为基督） | Although he rejected institutionalized religion, Blake was intensely spiritual, and much of his art was inspired by a highly personal reading of the Bible or by literature based upon it, such as John Milton’s Paradise Lost (1667). The Virgin Mary is centered in this highly stylized composition. Upon her lap she clasps the infant Christ whose outstretched arms foreshadow the Crucifixion. The Mother and Child are flanked by Saint Joseph on the left, and Saint Anne (the Virgin’s mother), on the right. Below, Saint John the Baptist, who foretold Christ’s death and resurrection, plays with a lamb. |
| 约伯记：Pl.11，梦在我床上，你用异象惊吓我，使我受宠若惊 | - |
| 维吉尔的田园牧歌,牧歌I:牧羊人追逐狼 | In 1820, Blake was commissioned to illustrate a new edition of The Pastorals of Virgil, published as a school text, which included commentary by Dr. Robert John Thornton on the famous poem from the 1st century BC. Blake’s seventeen wood engravings became tremendously influential to the Ancients. Samuel Palmer (also in this gallery) wrote of these wood engravings: "They are visions of little dells, and nooks, and corners of Paradise; models of the exquisitest [sic] pitch of intense poetry... There isin all such a mystic and dreamy glimmer as penetrates and kindles the inmost [sic] soul." Despite Palmer’s poetic description, Blake’s wood engravings were not images of an unchanging paradise. Instead, they record an evershifting and often ambiguous relationship between the artist and his environment. They describe a landscape of Blake’s imagination---a wellspring of dreams and artisticinspiration, yet simultaneously a land of doubts and shadows, sweet delusions and unformed hopes. |
| 维吉尔的田园牧歌，牧歌 IN：诅咒之树 | In 1820, Blake was commissioned to illustrate a new edition of The Pastorals of Virgil, published as a school text, which included commentary by Dr. Robert John Thornton on the famous poem from the 1st century BC. Blake’s seventeen wood engravings became tremendously influential to the Ancients. Samuel Palmer (also in this gallery) wrote of these wood engravings: "They are visions of little dells, and nooks, and corners of Paradise; models of the exquisitest [sic] pitch of intense poetry... There is in all such a mystic and dreamy glimmer as penetrates and kindles the inmost [sic] soul." Despite Palmer’s poetic description, Blake’s wood engravings were not images of an unchanging paradise. Instead, they record an evershifting and often ambiguous relationship between the artist and his environment. They describe a landscape of Blake’s imagination---a wellspring of dreams and artistic inspiration, yet simultaneously a land of doubts and shadows, sweet delusions and unformed hopes. |
| 花园里的痛苦 | This illustrates lines from St Luke's Gospel, although the inclusion of the sleeping disciples also refers to the Gospels of Matthew and Mark. Christ is shown praying in the Garden of Gethsemene just before his betrayal by Judas and his arrest: And there appeared an angel unto him from heaven, strengthening him. And being in an agony he prayed more earnestly: and his sweat was as it were great drops of blood falling down to the ground. One of Blake's patrons described him as 'a most fervent admirer of the Bible, and intimately acquainted with its beauties.' |
| 伊丽莎白女王和埃塞克斯（继亨利·富塞利之后） | - |
| 罗莎蒙德的堕落（托马斯·斯托德之后） | This is a 'furnishing print ', intended as a wall decoration. Such prints found a ready and growing market among the prospering middle classes of Blake's day. They also provided prestgious and lucrative commissions for commercial engravers such as Blake. In 1784, with this sort of opportunity in mind, Blake set up a short-lived printselling and publishing business with James Parker. Rosamond is printed in three colours. As can be seen in the colour prints to the right, Blake developed his own method of colour-printing which may have taken some inspiration from standard commercial methods of colour-printing. |
| 欧内斯特·穆恩夫人的肖像 | Emma Moon was a young Australian who married an English barrister. This portrait was commissioned to celebrate their marriage. She is shown here wearing a richly-decorated coat which she had embroidered herself. William Richmond was best known for his academic pictures but he was also a highly skilled portraitist. This picture is distinctly ‘aesthetic’: there are contrasting colours and textures in the opulent fabrics, and Emma Moon has a languid pose and expression. |
| 永恒之神 | - |
| 房间的墙上的以利沙 | - |
| 野兽的数量是666个 | - |
| 赫卡特和艾尼塔蒙的欢乐之夜 | - |
| 弥尔顿的《失乐园》的插图 | - |
| 弥尔顿的《在基督诞生的早晨》的插图 | - |
| 徘徊的月亮 | - |
| 愤怒的太阳 | - |
| 东门的太阳 | - |
| 柏拉图的精神 | - |
| 小妖精 | - |
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