English Bards and Grecian Marbles: The Relationship between Sculpture and Poetry Especially in the Romantic Period

By Stephen A. Larrabee | Go to book overview

V. BLAKE

HEROIC ART AND "GRECIAN" WORKMANSHIP

AT ONE of their rare encounters, Sir Joshua Reynolds is reported to have warned William Blake against extravagance.1 Apparently the younger artist was to strive for simplicity, the summum bonum of the Academic scheme of things, the "exact medium between too much and too little."

When one discovers that, at the time, Blake was probably engaged upon the Songs of Innocence and Songs of Experience, the advice seems rather presumptuous, even though the Academician was doubtless unaware of the poetry in which the artist was achieving a lyric simplicity beyond all but a few poets. Besides, Blake was then working in a manner of art more "simple" than Reynolds's own. Such pictures as "The Ordeal of Queen Emma" and "The Penance of Jane Shore" (c. 1778) leave no doubt that the artist had learned the Neo-Classical and Academic lingoes of simplicity. In those paintings English men and women, garbed in classical costume, pose in simple and linear designs suggested by ancient sculptures and bas-reliefs and by Renaissance imitations of the Antique. They were examples of the historical or heroic art admired by connoisseurs and patriots in the late eighteenth century.

While still a child Blake formed what was to be a lifelong attachment to the "historic" in art, to the same sculptural or Michelangelesque or grand style which received its most persuasive apologia in the Discourses of Reynolds. Very early he began the serious study of art, working first from casts of ancient statues both at the school of Mr. Pars (who had been in Greece in connection with Stuart and Revett's Antiquities of Athens) and at home with the "plaster casts

____________________
1
See Alexander Gilchrist, The Life of William Blake, "Pictor Ignotus" ( 1863), I, 267.

-99-

Notes for this page

Add a new note
If you are trying to select text to create highlights or citations, remember that you must now click or tap on the first word, and then click or tap on the last word.
One moment ...
Default project is now your active project.
Project items
Notes
Cite this page

Cited page

Style
Citations are available only to our active members.
Buy instant access to cite pages or passages in MLA 8, MLA 7, APA and Chicago citation styles.

(Einhorn, 1992, p. 25)

(Einhorn 25)

(Einhorn 25)

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Note: primary sources have slightly different requirements for citation. Please see these guidelines for more information.

Cited page

Bookmark this page
English Bards and Grecian Marbles: The Relationship between Sculpture and Poetry Especially in the Romantic Period
Table of contents

Table of contents

  • Title Page iii
  • Preface vi
  • Contents xi
  • Contents xiii
  • I. Poets and Sculpture 1
  • Ii. the Early Poets 18
  • III- the Seventeenth Century Pre-Restoration: the Uses Of Statue-Craft 43
  • Iv. the Eighteenth Century 66
  • V. Blake 99
  • VI- Wordsworth And Coleridge 120
  • VII- Byron Byron and Art 149
  • VIII- Shelley Greece: "The Crystalline Sea Of Thought" 175
  • IX- Keats Keats, the "Greek" 204
  • X. Landor and Hunt 233
  • Xi. the Lesser Poets 257
  • Xii. Conclusion 277
  • List of Critical Terms 289
  • A Selective Bibliography 293
  • Index 299
Settings

Settings

Typeface
Text size Smaller Larger Reset View mode
Search within

Search within this book

Look up

Look up a word

  • Dictionary
  • Thesaurus
Please submit a word or phrase above.
Print this page

Print this page

Why can't I print more than one page at a time?

Help
Full screen
Items saved from this book
  • Bookmarks
  • Highlights & Notes
  • Citations
/ 314

matching results for page

    Questia reader help

    How to highlight and cite specific passages

    1. Click or tap the first word you want to select.
    2. Click or tap the last word you want to select, and you’ll see everything in between get selected.
    3. You’ll then get a menu of options like creating a highlight or a citation from that passage of text.

    OK, got it!

    Cited passage

    Style
    Citations are available only to our active members.
    Buy instant access to cite pages or passages in MLA 8, MLA 7, APA and Chicago citation styles.

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn, 1992, p. 25).

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn 25)

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn 25)

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences."1

    1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

    Cited passage

    Thanks for trying Questia!

    Please continue trying out our research tools, but please note, full functionality is available only to our active members.

    Your work will be lost once you leave this Web page.

    Buy instant access to save your work.

    Already a member? Log in now.

    Search by... Author
    Show... All Results Primary Sources Peer-reviewed

    Oops!

    An unknown error has occurred. Please click the button below to reload the page. If the problem persists, please try again in a little while.