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Butts and William Blake first met in about 1799, and he regularly advanced Blake money to pay for future work. [1] Blake taught engraving to Butts' son. [ 1 ] Blake created a number of miniatures of the Butts family during the period from about 1801 to 1809, and these are in the collection of the British Museum. [ 1 ]
Dated 1808, they were commissioned from Blake by his patron Thomas Butts, who also commissioned many paintings on biblical themes from Blake. In the early 1850s, Butts' son Thomas Butts Jr. offered the individual paintings for sale at several auctions, resulting in the dispersal of the set. Today it remains divided between four museums.
William Blake drew and painted illustrations for John Milton's nativity ode On the Morning of Christ's Nativity between 1803 and 1815. A total of 16 illustrations are extant: two sets of six watercolours each, and an additional four drawings in pencil. The dating of the sets is unknown, as is Blake's intended sequence for the illustrations.
William Blake was an artisanal imagemaker dubbed a 'lunatic' during Britain's Industrial Revolution. The Getty Museum has other ideas in its new exhibition.
This is an accepted version of this page This is the latest accepted revision, reviewed on 2 January 2025. English poet and artist (1757–1827) For other people named William Blake, see William Blake (disambiguation). William Blake Portrait by Thomas Phillips (1807) Born (1757-11-28) 28 November 1757 Soho, London, England Died 12 August 1827 (1827-08-12) (aged 69) Charing Cross, London ...
Blake's next illustration was the tempera painting Job and his Daughters (1800), commissioned by Thomas Butts (see gallery below). [6] This has similarities to plate 20 of the engraved illustrations, but it is unclear whether the print was directly based upon it.
Blake's depiction was created as part of a commission of biblical watercolours for his friend and patron [4] Thomas Butts. The artist began to work on Butts's series around 1800. For stylistic reasons—including the use of pencil instead of pen and ink—it is generally believed by scholars that Blake began work on the piece sometime in 1803. [5]
Prince William, then 21, had just made cut as one of a 13-man group that was set to play in the Wales and Ireland Celtic challenge. Don't get us wrong, the 6'3" royal definitely had the fit ...