William Blake’s Paintings Come to Life in Two Animations

The poet and painter William Blake toiled in obscurity, for the most part, and died in poverty.

Twenty some years after his death, his rebellious spirit gained traction with the Pre-Raphaelites.

By the dawning of the Age of Aquarius, Blake was ripe to be venerated as a counter-cultural hero, for having flown in the face of convention, while championing gender and racial equality, nature, and free love.




Reclining half-naked on a “a fabulous couch in Harlem,” poet Allen Ginsburg had a hallucinatory encounter wherein Blake recited to him “in earthen measure.”

Ditto poet Michael McClure, though in his case, Bob Dylan’s "Gates of Eden" served as something of a medium:

I had the idea that I was hallucinating, that it was William Blake’s voice coming out of the walls and I stood up and put my hands on the walls and they were vibrating.

Blake’s work (and world view) continues to exert enormous influence on graphic noveliststheatermakers, and creatives of every stripe.

He's also a dab hand at animation, collaborating from beyond the grave.

The short above, a commission for a late ‘70s Blake exhibition at The Tate, envisions a roundtrip journey from Heaven to Hell. Animator Sheila Graber parked herself in the Sculpture Hall to create it in public view, pairing Blake’s line “Energy is Eternal delight” with a personal observation:

Whether we use it to create or destroy—it's the same energy. The practice of art can turn a person from a vandal to a builder!

More recently, the Tate gave director Sam Gainsborough access to super high-res imagery of Blake’s original paintings, in order to create a promo for last year’s blockbuster exhibition.

Gainsborough and animator Renaldho Pelle worked together to bring the chosen works to life, frame by frame, against a series of London buildings and streets that were well known to Blake himself.

The film opens with Blake’s Ghost of a Flea emerging from the walls of Broadwick Street, where its creator was born, then stalking off, bowl in hand, ceding the screen to God, The Ancient of Days, whose reach spreads like ink across the gritty facade of a white brick edifice.

Seymour Milton’s original music and Jasmine Blackborow’s narration of excerpts from Blake’s poem "Auguries of Innocence" seem to anticipate the fraught current moment, as does the entire poem:

Auguries of Innocence

To see a World in a Grain of Sand

And a Heaven in a Wild Flower 

Hold Infinity in the palm of your hand 

And Eternity in an hour

A Robin Red breast in a Cage

Puts all Heaven in a Rage 

A Dove house filld with Doves & Pigeons

Shudders Hell thr' all its regions 

A dog starvd at his Masters Gate

Predicts the ruin of the State 

A Horse misusd upon the Road

Calls to Heaven for Human blood 

Each outcry of the hunted Hare

A fibre from the Brain does tear 

A Skylark wounded in the wing 

A Cherubim does cease to sing 

The Game Cock clipd & armd for fight

Does the Rising Sun affright 

Every Wolfs & Lions howl

Raises from Hell a Human Soul 

The wild deer, wandring here & there 

Keeps the Human Soul from Care 

The Lamb misusd breeds Public Strife

And yet forgives the Butchers knife 

The Bat that flits at close of Eve

Has left the Brain that wont Believe

The Owl that calls upon the Night

Speaks the Unbelievers fright

He who shall hurt the little Wren

Shall never be belovd by Men 

He who the Ox to wrath has movd

Shall never be by Woman lovd

The wanton Boy that kills the Fly

Shall feel the Spiders enmity 

He who torments the Chafers Sprite

Weaves a Bower in endless Night 

The Catterpiller on the Leaf

Repeats to thee thy Mothers grief 

Kill not the Moth nor Butterfly 

For the Last Judgment draweth nigh 

He who shall train the Horse to War

Shall never pass the Polar Bar 

The Beggars Dog & Widows Cat 

Feed them & thou wilt grow fat 

The Gnat that sings his Summers Song

Poison gets from Slanders tongue 

The poison of the Snake & Newt

Is the sweat of Envys Foot 

The poison of the Honey Bee

Is the Artists Jealousy

The Princes Robes & Beggars Rags

Are Toadstools on the Misers Bags 

A Truth thats told with bad intent

Beats all the Lies you can invent 

It is right it should be so 

Man was made for Joy & Woe 

And when this we rightly know 

Thro the World we safely go 

Joy & Woe are woven fine 

A Clothing for the soul divine 

Under every grief & pine

Runs a joy with silken twine 

The Babe is more than swadling Bands

Throughout all these Human Lands

Tools were made & Born were hands 

Every Farmer Understands

Every Tear from Every Eye

Becomes a Babe in Eternity 

This is caught by Females bright

And returnd to its own delight 

The Bleat the Bark Bellow & Roar 

Are Waves that Beat on Heavens Shore 

The Babe that weeps the Rod beneath

Writes Revenge in realms of Death 

The Beggars Rags fluttering in Air

Does to Rags the Heavens tear 

The Soldier armd with Sword & Gun 

Palsied strikes the Summers Sun

The poor Mans Farthing is worth more

Than all the Gold on Africs Shore

One Mite wrung from the Labrers hands

Shall buy & sell the Misers Lands 

Or if protected from on high 

Does that whole Nation sell & buy 

He who mocks the Infants Faith

Shall be mockd in Age & Death 

He who shall teach the Child to Doubt

The rotting Grave shall neer get out 

He who respects the Infants faith

Triumphs over Hell & Death 

The Childs Toys & the Old Mans Reasons

Are the Fruits of the Two seasons 

The Questioner who sits so sly 

Shall never know how to Reply 

He who replies to words of Doubt

Doth put the Light of Knowledge out 

The Strongest Poison ever known

Came from Caesars Laurel Crown 

Nought can Deform the Human Race

Like to the Armours iron brace 

When Gold & Gems adorn the Plow

To peaceful Arts shall Envy Bow 

A Riddle or the Crickets Cry

Is to Doubt a fit Reply 

The Emmets Inch & Eagles Mile

Make Lame Philosophy to smile 

He who Doubts from what he sees

Will neer Believe do what you Please 

If the Sun & Moon should Doubt 

Theyd immediately Go out 

To be in a Passion you Good may Do 

But no Good if a Passion is in you 

The Whore & Gambler by the State

Licencd build that Nations Fate 

The Harlots cry from Street to Street 

Shall weave Old Englands winding Sheet 

The Winners Shout the Losers Curse 

Dance before dead Englands Hearse 

Every Night & every Morn

Some to Misery are Born 

Every Morn and every Night

Some are Born to sweet delight 

Some are Born to sweet delight 

Some are Born to Endless Night 

We are led to Believe a Lie

When we see not Thro the Eye

Which was Born in a Night to perish in a Night 

When the Soul Slept in Beams of Light 

God Appears & God is Light

To those poor Souls who dwell in Night 

But does a Human Form Display

To those who Dwell in Realms of day

Related Content:

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Ayun Halliday is an author, illustrator, theater maker and Chief Primatologist of the East Village Inky zine. Follow her @AyunHalliday.

A Short Introduction to Caravaggio, the Master Of Light

Like many a great artist, the fortunes of Michelangelo Merisi da Caravaggio rose and fell dramatically. After his death, possibly from syphilis or murder, his influence spread across the continent as followers called Caravaggisti took his extreme use of chiaroscuro abroad. He influenced Rubens, Rembrandt, and Velázquez—indeed, the entire Baroque period in European art history probably would never have happened without him. “With the exception of Michelangelo,” art historian Bernard Berenson wrote, “no other Italian painter exercised so great an influence.”

But later critics savaged his hyper-dramatic, high-contrast realism. His style, called “tenebrism” for its use of deep darkness in paintings like The Calling of St. Matthew, is shocking by comparison with the fanciful Mannerism that came before. In the video above, Evan Puschak, the Nerdwriter, explains what makes Caravaggio’s work so strangely hyperreal. He “preferred to paint his subjects as the eye sees them,” the Caravaggio Foundation writes, “with all their natural flaws and defects instead of as idealized creations…. This shift from standard practice and the classical idealism of Michelangelo was very controversial at the time…. His realism was seen by some as unacceptably vulgar.”




Also controversial was Caravaggio himself. His wild life made an ideal subject for Derek Jarman’s 1986 arthouse biopic starring Tilda Swinton. Famous for brawling, “the transcripts of his police records and trial proceedings fill several pages.” He never married or settled down and the male eroticism in his paintings has led many to suggestions he was gay .(Jarman’s film makes this an explicit part of his biography.) It’s likely, art historians think, that the painter had many tumultuous relationships, sexual and otherwise, with both men and women before his early death at the age of 38.

Despite his profane life, Caravaggio’s paintings evince a “remarkable spirituality” and illustrate, as Puschak notes, exactly the kind of passionate intensity the counter-Reformation Catholic Church wanted to use to stir the faithful. Caravaggio’s popularity meant commissions from wealthy patrons, and for a time, he was the most famous painter in Rome, as well as one of the city’s most infamous characters. Caravaggio painted from life, staging his intricate arrangements with real models who held the poses as he worked.

His figures were ordinary people one might meet on the 17th century streets of the city. And Caravaggio himself, despite his enormous talent, was an ordinary person as well, stereotypes of tragic, tortured geniuses aside. He was deeply flawed, it's true, yet driven by an incredible longing to become something greater.

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Josh Jones is a writer and musician based in Durham, NC. Follow him at @jdmagness

Behold a Beautiful 400-Year-Old ‘Friendship Book’ Featuring the Signatures of Historic Figures

Maintaining the balance of power among European states has always been a fraught affair, but it was especially so in the years when mercantilism made fragile alliances during the religious wars of the 17th century. This was a time when merchants made excellent diplomats, not only because they traveled extensively and learned foreign tongues and customs, but because they spoke the universal language of trade.

German merchant and diplomat Philipp Hainhofer from Augsburg was such a figure, traveling from court to court to meet with Europe’s renowned dignitaries. As he did so, he would ask them to sign his album amicorum, or “friendship book,” also called a stammbuch. Each signer would then “commission an artist to create a painting accompanying their signatures,” Alison Flood writes at The Guardian.

“There are around 100 drawings” in his autograph book, known as the Große Stammbuch, “which took more than 50 years to compile.” After Hainhofer’s death in 1647, his friend August the Younger—who helped collect the hundreds of thousand of books in the Herzog August Bibliothek—tried to acquire the book but failed. Now it has finally landed in the huge library, one of the world’s oldest, almost 400 years later, after a purchase at a private auction this week.

Friendship books were commonly used at the time to record the names of family and friends. Students used them as yearbooks, and Hainhofer began his collection of signatures as a college student. He gradually gained a select clientele as his career advanced. Signatories, the History Blog points out, “include Holy Roman Emperor Rudolf II, another HRE Matthias, Christian IV of Denmark and Norway, Cosimo II de’Medici, Grand Duke of Tuscany…” and many others.

Hainhofer’s Große Stammbuch is, as you can see, a beautiful work of art—or almost 100 collected works of art—in its own right. “The elaborateness of the illustrations directly corresponds to the signatory’s status and rank in society,” as Grace Ebert notes at Colossal. It is also a fascinating record of Early Modern European politics, trade, and diplomacy, a fine art all its own.

via Colossal

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Josh Jones is a writer and musician based in Durham, NC. Follow him at @jdmagness

Take Immersive Virtual Tours of the World’s Great Museums: The Louvre, Hermitage, Van Gogh Museum & Much More

Can you remember when you last visited a museum? Even if you didn't much care for them before the time of the coronavirus, you're probably beginning to miss them right about now. At least the internet technology that has kept our communication open and our entertainment flowing — and, regrettably for some, kept our work meetings regular — has also made it possible to experience art institutions through our screens. Here on Open Culture we've previously featured many such online art spaces, digital gallery experiences, and virtual museum tours, and today we've rounded up some of the best for you.

Most everyone who had a trip to France scheduled for this spring or summer will have canceled it. But thanks to these three high-definition, first-person videos, you can still tour the Louvre, Liberty Leading the People, the Venus de Milo, the Mona Lisa, and even I.M. Pei's rooftop pyramid and all. Perhaps you'd planned to spend part of 2020 traveling Europe more widely, in which case you'd almost certainly have gone to Italy and seen Forence's Uffizi Gallery as well. Luckily, that most famous collection of Renaissance art has gone digital with a complete "street view" tour as well as an archive of 3D sculpture scans.

Of course, no art-oriented trip to Italy would be well spent only in galleries and museums: it would also have to include St. Peter's Basilica, the Sistine Chapel, and other sacred spaces of the Vatican, in whose virtual versions you can now spend as long as you like. And while some tourists in Europe face time or money constraints too tight to allow visits to smaller countries like the Netherlands, internet travel is subject to no such limitations. So go ahead and take a seven-part tour of the Van Gogh Museum in 4K, or have a look at Rembrandt's The Night Watch down to every last brushstroke.

You won't find every Dutch masterpiece in the Netherlands. Take Hieronymus Bosch's The Garden of Early Delights, for instance, currently held by Spain's Prado Museum, which has also made a virtual tour of the grotesque and spectacular painting available online. As for the work of Spain's own artists, you can go even deeper into the work of Salvador Dalí with this 360-degree virtual-reality video of his painting Archaeological Reminiscence of Millet’s ‘Angelus.’  Those who'd like to spend some time off the continent and back down on Earth can view an altogether different 360-degree video, this one of Shakepeare's Globe Theatre in London — and have a look at the treasures of the British Museum while they're at it.

The ongoing pandemic having put a temporary stop to not just most travel to Europe but most international travel of any kind, hopeful travelers to and within North America have also been forced to change their plans. If this describes you, consider taking a virtual tour of the Smithsonian National Museum of Natural HistoryFrank Lloyd Wright's studio Taliesin, or the Frida Kahlo Museum in Mexico City. But while you're online, why not mount an even more ambitious worldwide art journey: to the Hermitage in Russia, the Ghibli Museum in Japan, and street art (as well as stolen art) from all over? It's a big world of art out there — something we can't let ourselves forget before we can see it in person again.

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Based in Seoul, Colin Marshall writes and broadcasts on cities, language, and culture. His projects include the book The Stateless City: a Walk through 21st-Century Los Angeles and the video series The City in Cinema. Follow him on Twitter at @colinmarshall, on Facebook, or on Instagram.

Watch Home Movies Starring Salvador Dali, Henri Matisse, Igor Stravinsky, Gertrude Stein, Colette & Other Early 20th Century Luminaries

Léonide Massine may not be not the most famous name to grace socialite Elizabeth Fuller Chapman’s home movies.

In terms of 21st century name brand recognition, he definitely lags behind art world heavies Salvador DaliMarcel DuchampConstantin BrâncușiHenri Matisse, composer Igor Stravinsky, novelist Colette, playwright Thornton Wilder, the ever-formidable poet and collector Gertrude Stein, and her longtime companion Alice B. Toklas. Such were the luminaries in Mrs. Chapman’s circle.

But in terms of sheer on-camera charisma, the Ballets Russes dancer and choreographer definitely steals the collective show, above, currently on exhibit as part of the Museum of Modern Art’s Private Lives Public Spaces, an exhibit exploring home movies as an art form.




Massine’s unbridled al fresco hip-twirling, prancing, and side kicks (preceded by a slow-motion run at 1:55) exist in stark contrast with Matisse’s stiff discomfort in the same setting (11:11) One need not be a skilled lipreader to guess the tone of the commentary Mrs. Chapman’s 16mm camera was not equipped to capture.

Stein (12:00), whose forceful personality was the stuff of legend, appears relaxed at the summer home she and Toklas shared in Bilignin, but also happy to position their standard poodle, Basket, as the center of attention.

Georges Braque (14:50), the introverted Father of Cubism, clings gratefully to his palette as he stands before a large canvas in his studio, and appears just as wary in another clip at 20:10.

The Surrealist Dali (21:50), as extroverted as Braque was retiring, takes a different approach to his palette, engaging with it as a sort of comic prop. Ditto his wife-to-be, Gala, and a painted porcelain bust he once accessorized with an inkwell, a baguette, and a zoetrope strip.

Dali serves up some serious Tik-Tok vibes, but we have a hunch Colette’s struggles with her friend, pianist Misia Sert’s semi-tame monkey (4:35), would rack up more likes.

As the curators of the MoMA exhibition note:

Chapman Films is immensely popular in the Film Study Center for the rare and intimate glimpses of their lives it provides, from a time when the famous were not readily accessible. Yes, there were gossip columns, fan magazines, and juicy exposés in the 1930s and ‘40s, but many notable figures carefully curated their public personas. We know these figures through their paintings, music, or words, not their faces, so to see them at all—let alone in real life, doing everyday things—is remarkable.

Also charming is the freshness of their interactions with Chapman’s camera—many of her subjects were celebrities, but their fame was in no way tethered to the ubiquity of smart phones. Hard to go viral in 16mm, decades before YouTube.

Though dancing, as Massine, and his close second Serge Lifar (8:50) make plain, is an excellent way to hold our attention.

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Ayun Halliday is an author, illustrator, theater maker and Chief Primatologist of the East Village Inky zine. Follow her @AyunHalliday.

Banksy Funds a Boat to Rescue Refugees at Sea–and Soon It Finds Itself in Distress in the Mediterranean

"Like most people who make it in the art world, I bought a yacht to cruise the Med,” Banksy wrote on Instagram when introducing the Louise Michel, a vessel tasked with a somewhat different mission than an arriviste party boat: picking up refugees from countries like Libya and Turkey lost at sea. Anyone who's followed Banksy's art career knows he possesses a well-developed instinct for catching and keeping public attention, and it has hardly deserted him in this venture. Why sponsor a refugee rescue boat, after all, when you can sponsor a bright pink feminist refugee rescue boat, emblazoned with a piece of original art?

Despite having been named for the 19th-century feminist anarchist Louise Michel, the motor yacht's operations encompass an even wider variety of causes: The Guardian's Lorenzo Tondo and Maurice Stierl quote "Lea Reisner, a nurse and head of mission for the first rescue operation," saying that the project is also "meant to bring together a variety of struggles for social justice, including for women’s and LGBTIQ rights, racial equality, migrants’ rights, environmentalism and animal rights." This multidirectional activism would seem to suit the artistic sensibility of Banksy, whose work strikes out in as many critical directions as both his admirers and detractors can interpret.




The Louise Michel, as Tondo and Stierl reported last Thursday, "set off in secrecy on 18 August from the Spanish seaport of Burriana, near Valencia, and is now in the central Mediterranean where on Thursday it rescued 89 people in distress, including 14 women and four children." After picking up the first group of refugees, reports the Washington Post's Miriam Berger, "it then encountered a ship traveling from North Africa to Europe with 130 people aboard and some bodies of people who had died during the journey," and as a result "quickly became overcrowded and could not properly steer, its Twitter posts said." All this happened "at sea around 55 miles southeast of Lampedusa, an Italian island off the North African coast that has become a migration transit point."

Hours later two other vessels, one operated by the Italian coast guard and one by a German nongovernmental organization, came to take on passengers. Though hardly smooth sailing, the Louise Michel's first rescue mission proceeded more favorably than some: "A vessel named the Talia, which rescued 52 people almost two months ago, wasn't allowed into the port for 5 days," says Dazed. "Now, a boat named the Etienne is in the longest record stand-off between authorities and rescuers ever, having spent three weeks at sea being denied disembarkation in Malta." Banksy publicized the Louise Michel, which he sponsors without involvement in its operations, only after it had set sail. But for anyone with an interest in showing the world the dire circumstances of refugees today, the highly visible boat's highly visible difficulties certainly aren't bad publicity.

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Based in Seoul, Colin Marshall writes and broadcasts on cities, language, and culture. His projects include the book The Stateless City: a Walk through 21st-Century Los Angeles and the video series The City in Cinema. Follow him on Twitter at @colinmarshall, on Facebook, or on Instagram.

A Beautiful 1897 Illustrated Book Shows How Flowers Become Art Nouveau Designs

The art of drawing is not the art of observing forms and objects alone, it is not mere mimicry of these objects; it is the art of knowing how far and wherein, and with what just limitations, those forms and objects can be reproduced in a picture, or in a decorative work. - Eugène Grasset, 1896

Flowers loomed large in Art Nouveau, from the voluptuous floral headpieces that crowned Alphonse Mucha's female figures to the stained glass roses favored by architect Charles Rennie Mackintosh.

Graphic designer Eugène Grasset’s 1897 book, Plants and Their Application to Ornament, vividly demonstrates the ways in which nature was distilled into popular decorative motifs at the end of the 19th-century.

 

Twenty-four flowering plants were selected for consideration, from humble specimens like dandelions and thistle to such Art Nouveau heavy hitters as poppies and irises.

Each flower is represented by a realistic botanical study, with two additional color plates in which its form is flattened out and mined for its decorative, stylistic elements.

 

The plates were rendered by Grasset’s students at the École Guérin, young artists whom he had “forbidden to condescend to the art of base and servile imitation”:

The art of drawing is not the art of observing forms and objects alone, it is not mere mimicry of these objects; it is the art of knowing how far and wherein, and with what just limitations, those forms and objects can be reproduced in a picture, or in a decorative work.

He also expected students to hone their powers of observation through intense study of the organic structures that would provide their inspiration, becoming intimately acquainted with the character of petal, leaf, and stem:

Beautiful lines are the foundation of all beauty. In a work of art, whatever it be, apparent or hidden symmetry is the visible or secret cause of the pleasure we feel. Everything that is created must have some repetition in its parts to be understood, retained in the memory, and perceived as a whole

When it came to adorning household implements such as vases and plates, Grasset insisted that decorative elements exist in harmony with their hosts, sniping that any artist who would distort form with ill considered flourishes should make a bas-relief instead.

Thusly do chrysanthemum stems provide logical-looking ballast for a chandelier, and a dandelion’s curved leaves hug the contours of a table leg.

Grasset's best known student, Maurice Pillard Verneuil, whose career spanned Art Nouveau to Art Deco, absorbed and articulated the master’s teachings:

 

It is no longer the nature (artists) see that they represent, that they transcribe, but the nature that they aspire to see; nature more perfect and more beautiful and of which they have the interior vision.

 

View Eugène Grasset’s Plants and Their Application to Ornament as part of the New York Public Library’s Digital Collections here. Or find illustrations at RawPixel.

via The Public Domain Review

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Ayun Halliday is an author, illustrator, theater maker and Chief Primatologist of the East Village Inky zine.  Follow her @AyunHalliday.

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