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In the summer of 2024, the Hamburger Kunsthalle will present the astonishing oeuvre of the English draughtsman and graphic artist William Blake (1757-1827), produced in the years around 1800 against the backdrop of revolution and war in Europe, slavery in the European colonies, and oppression in his native Great Britain.
Blake’s works express his critique of his world while at the same time conjuring a vision of universal redemption. Both his mystical imagery and grim literary works continue to be emulated even in today’s pop culture. However, his work is still little known outside of England. This exhibition will be the first public showing of the entire Blake collection of the Fitzwilliam Museum in Cambridge together with the bequest of the well-known Blake collector Geoffrey Keynes. Even though he never left Great Britain, Blake was evidently a genuine European, a quality that comes to light by juxtaposing his works with those of selected European contemporaries, making for a show comprising some 120 exhibits.
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Definitive aspects of Blake’s art resulting from his training at the Royal Academy of Arts in London are illustrated here, along with his engagement with antiquity and the Renaissance and his enthusiasm for the mystical imagery of the early modern period. The exhibition furthermore compares Blake’s work to that of other artists who, in the face of devastating political crises, turned to visual art to rebuild the world, for example the Romantic artist Philipp Otto Runge (1777–1810), who likewise strove to visualise the spiritual renewal of humanity in a novel artistic form. Blake’s depictions of the soul’s journey from the fall of man to redemption are also contrasted with works by contemporaries such as his younger compatriot Samuel Palmer (1805–1881) and also Caspar David Friedrich (1774–1840) in order to demonstrate the artistic tensions between personal, national and universal liberation around 1800.
The show is a first-time collaboration between the Hamburger Kunsthalle and the Fitzwilliam Museum, University of Cambridge. After nearly 50 years have passed, it follows on from the cycle “Art around 1800” conceived by former Kunsthalle director Werner Hofmann, in which Blake’s work was presented for the first and last time in Germany in 1975.
Curators
- Andreas Stolzenburg in cooperation with Prof. David Bindman (London)
- Dr. Esther Chadwick (Courtauld Institute of Art, London)
Assistant curator
- Jan Steinke
Traineeship
- Julia Kersting
In cooperation with The Fitzwilliam Museum, Cambridge
Supported by
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John Linnell
1792–1882John Linnell (1792–1882), Porträt William Blakes in Hampstead (Portrait of William Blake at Hampstead), ca. 1820 Graphit, 17,9 x 11,5 cm, The Fitzwilliam Museum, Cambridge © The Fitzwilliam Museum, University of Cambridge
InfoGraphit
17,9 x 11,5 cm
Bildrechte© The Fitzwilliam Museum, Cambridge
Graphit17,9 x 11,5 cm© The Fitzwilliam Museum, CambridgeJohn Linnell1792–1882John Linnell (1792–1882), Porträt William Blakes in Hampstead (Portrait of William Blake at Hampstead), ca. 1820 Graphit, 17,9 x 11,5 cm, The Fitzwilliam Museum, Cambridge © The Fitzwilliam Museum, University of CambridgeGraphit17,9 x 11,5 cm© The Fitzwilliam Museum, Cambridge -
William Blake
1757–1827Ugolino und seine Söhne im Gefängnis (Ugolino and his Sons in prison)
InfoTempera
33 x 44 cm
Bildrechte© The Fitzwilliam Museum, Cambridge
Tempera33 x 44 cm© The Fitzwilliam Museum, CambridgeWilliam Blake1757–1827Ugolino und seine Söhne im Gefängnis (Ugolino and his Sons in prison)Tempera33 x 44 cm© The Fitzwilliam Museum, Cambridge -
William Blake
1757–1827Europa, eine Prophezeiung, Titelseite (Europe a Prophecy, title page), 1794
InfoRelief- und Weißlinienradierung, koloriert
30,3 x 23,1 cm
Bildrechte© The Fitzwilliam Museum, Cambridge
Relief- und Weißlinienradierung, koloriert30,3 x 23,1 cm© The Fitzwilliam Museum, CambridgeWilliam Blake1757–1827Europa, eine Prophezeiung, Titelseite (Europe a Prophecy, title page), 1794Relief- und Weißlinienradierung, koloriert30,3 x 23,1 cm© The Fitzwilliam Museum, Cambridge -
William Blake
1757–1827William Blake (1757–1827), Europa, eine Prophezeiung, Frontispiz – Urizen (Europe a Prophecy, frontispice – Urizen), 17941794, Relief- und Weißlinienradierung, koloriert, 30,3 x 23,1 cm The Fitzwilliam Museum, Cambridge © The Fitzwilliam Museum, University of Cambridge
InfoRelief- und Weißlinienradierung, koloriert
30,3 x 23,1 cm
Bildrechte© The Fitzwilliam Museum, Cambridge
Relief- und Weißlinienradierung, koloriert30,3 x 23,1 cm© The Fitzwilliam Museum, CambridgeWilliam Blake1757–1827William Blake (1757–1827), Europa, eine Prophezeiung, Frontispiz – Urizen (Europe a Prophecy, frontispice – Urizen), 17941794, Relief- und Weißlinienradierung, koloriert, 30,3 x 23,1 cm The Fitzwilliam Museum, Cambridge © The Fitzwilliam Museum, University of CambridgeRelief- und Weißlinienradierung, koloriert30,3 x 23,1 cm© The Fitzwilliam Museum, Cambridge -
William Blake
1757–1827Albion erhebt sich (Glücklicher Tag oder Der Tanz Albions) (Albion Rose (Glad Day or The Dance of Albion))
InfoKupferstich, Radierung und Kaltnadel
255 x 190 mm
Bildrechte© The Trustees of the British Museum, London
Kupferstich, Radierung und Kaltnadel255 x 190 mm© The Trustees of the British Museum, LondonWilliam Blake 1757–1827Albion erhebt sich (Glücklicher Tag oder Der Tanz Albions) (Albion Rose (Glad Day or The Dance of Albion))Kupferstich, Radierung und Kaltnadel255 x 190 mm© The Trustees of the British Museum, London -
Catherine Blake
1762–1831Wahrscheinlich posthumes Porträt von William Blake als junger Mann (Probably posthumous portrait of William Blake as a young man), um 1830 (?)
Info BildrechteCatherine Blake1762–1831Wahrscheinlich posthumes Porträt von William Blake als junger Mann (Probably posthumous portrait of William Blake as a young man), um 1830 (?) -
William Blake
1757–1827Amerika, eine Prophezeiung (America a Prophecy), Tafel 12, Orc erhebt sich (Plate 12, Orc rises)
InfoReliefradierung, farbig gedruckt, Handkolorierung, mit Gold gehöht
304 x 231 mm
BildrechteThe Fitzwilliam Museum, Cambridge
© The Fitzwilliam Museum, University of Cambridge
Reliefradierung, farbig gedruckt, Handkolorierung, mit Gold gehöht304 x 231 mmThe Fitzwilliam Museum, Cambridge© The Fitzwilliam Museum, University of CambridgeWilliam Blake1757–1827Amerika, eine Prophezeiung (America a Prophecy), Tafel 12, Orc erhebt sich (Plate 12, Orc rises)Reliefradierung, farbig gedruckt, Handkolorierung, mit Gold gehöht304 x 231 mmThe Fitzwilliam Museum, Cambridge© The Fitzwilliam Museum, University of Cambridge -
William Blake
1757–1827Der Tod auf dem fahlen Pferde (Death on a Pale Horse)
InfoFeder in Schwarz, grau laviert, Aquarell
393 x 311 mm
BildrechteThe Fitzwilliam Museum, Cambridge
© The Fitzwilliam Museum, University of Cambridge
Feder in Schwarz, grau laviert, Aquarell393 x 311 mmThe Fitzwilliam Museum, Cambridge© The Fitzwilliam Museum, University of CambridgeWilliam Blake1757–1827Der Tod auf dem fahlen Pferde (Death on a Pale Horse)Feder in Schwarz, grau laviert, Aquarell393 x 311 mmThe Fitzwilliam Museum, Cambridge© The Fitzwilliam Museum, University of Cambridge -
William Blake
1757–1827Freie Fassung des Laokoon (Free Version of the Laocoön)
InfoFeder in Grau über Graphit, Aquarell
537 x 435 mm
BildrechteThe Fitzwilliam Museum, Cambridge
© The Fitzwilliam Museum, University of Cambridge
Feder in Grau über Graphit, Aquarell537 x 435 mmThe Fitzwilliam Museum, Cambridge© The Fitzwilliam Museum, University of CambridgeWilliam Blake1757–1827Freie Fassung des Laokoon (Free Version of the Laocoön)Feder in Grau über Graphit, Aquarell537 x 435 mmThe Fitzwilliam Museum, Cambridge© The Fitzwilliam Museum, University of Cambridge -
Info
Reliefradierung, teilweise handkoloriert
375 x 270 mm
BildrechtePrivatsammlung
© The Fitzwilliam Museum, University of Cambridge
Reliefradierung, teilweise handkoloriert375 x 270 mmPrivatsammlung© The Fitzwilliam Museum, University of CambridgeReliefradierung, teilweise handkoloriert375 x 270 mmPrivatsammlung© The Fitzwilliam Museum, University of Cambridge -
William Blake Nach Johann Heinrich Füssli (1741–1825)
1757–1827Satan oder Kopf einer verdammten Seele (Satan or Head of a Damned Soul)
InfoKupferstich und Radierung
473 x 380 mm
BildrechteThe Fitzwilliam Museum, Cambridge
© The Fitzwilliam Museum, University of Cambridge
Kupferstich und Radierung473 x 380 mmThe Fitzwilliam Museum, Cambridge© The Fitzwilliam Museum, University of CambridgeWilliam Blake Nach Johann Heinrich Füssli (1741–1825)1757–1827Satan oder Kopf einer verdammten Seele (Satan or Head of a Damned Soul)Kupferstich und Radierung473 x 380 mmThe Fitzwilliam Museum, Cambridge© The Fitzwilliam Museum, University of Cambridge
