william blake biography

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William Blake

William Blake was born in London on November 28, 1757, to James, a hosier, and Catherine Blake. Two of his six siblings died in infancy. From early childhood, Blake spoke of having visions—at four he saw God “put his head to the window”; around age nine, while walking through the countryside, he saw a tree filled with angels. Although his parents tried to discourage him from “lying,” they did observe that he was different from his peers and did not force him to attend a conventional school. Instead, he learned to read and write at home. At age ten, Blake expressed a wish to become a painter; so, his parents sent him to drawing school. Two years later, Blake began writing poetry. When he turned fourteen, he apprenticed with an engraver because art school proved too costly. One of Blake’s assignments as apprentice was to sketch the tombs at Westminster Abbey, exposing him to a variety of Gothic styles from which he would draw inspiration throughout his career. After his seven-year term ended, he studied briefly at the Royal Academy.

In 1782, Blake married an illiterate woman named Catherine Boucher. Blake taught her to read and write, and also instructed her in draftsmanship. Later, she helped him print the illuminated poetry for which he is remembered today; the couple had no children. In 1784, Blake set up a print shop with friend and former fellow apprentice, James Parker; but this venture failed after several years. For the remainder of his life, Blake made a meager living as an engraver and illustrator for books and magazines. In addition to his wife, Blake also began training his younger brother, Robert, in drawing, painting, and engraving. Robert fell ill during the winter of 1787, having probably succumbed to consumption. As Robert died, Blake saw his brother’s spirit rise up through the ceiling, “clapping its hands for joy.” He believed that Robert’s spirit continued to visit him and later claimed that in a dream Robert taught him the printing method that he used in Songs of Innocence and other “illuminated” works.

Blake’s first printed work, Poetical Sketches (1783), is a collection of apprentice verse, mostly imitating classical models. The poems protest against war, tyranny, and King George III’s treatment of the American colonies. He published his most popular collection, Songs of Innocence , in 1789 and followed it, in 1794, with Songs of Experience . Some readers interpret Songs of Innocence in a straightforward fashion, considering it primarily a children’s book, but others have found hints at parody or critique in its seemingly naive and simple lyrics. Both books of Songs were printed in an illustrated format reminiscent of illuminated manuscripts. The text and illustrations were printed from copper plates, and each picture was finished by hand in watercolors.

Blake was a nonconformist who associated with some of the leading radical thinkers of his day, including Thomas Paine and Mary Wollstonecraft. In defiance of eighteenth-century Neoclassical conventions, he privileged imagination over reason in the creation of both his poetry and images, asserting that ideal forms should be constructed not from observations of nature but from inner visions. He declared in one poem, “I must create a system or be enslaved by another man’s.” Works such as “The French Revolution” (1791), “America, a Prophecy” (1793), “Visions of the Daughters of Albion” (1793), and “Europe, a Prophecy” (1794) express his opposition to the English monarchy, and to eighteenth-century political and social tyranny in general. Theological tyranny is the subject of The Book of Urizen (1794). In the prose work The Marriage of Heaven and Hell (1790–93), he satirized the oppressive authority of both church and state, as well as the works of Emanuel Swedenborg, a Swedish philosopher whose ideas once attracted his interest.

In 1800, Blake moved to the seacoast town of Felpham, where he lived and worked until 1803 under the patronage of William Hayley. He taught himself Greek, Latin, Hebrew, and Italian, so that he could read classical works in their original language. In Felpham, Blake experienced profound spiritual insights that prepared him for his mature work, the great visionary epics written and etched between about 1804 and 1820. Milton (1804–08);  Vala, or The Four Zoas (1797; rewritten after 1800); and Jerusalem (1804–20) have neither traditional plot, characters, rhyme, nor meter. They envision a new and higher kind of innocence—the human spirit triumphing over reason.

Blake believed that his poetry could be read and understood by common people, but he was determined not to sacrifice his vision in order to become popular. In 1808, he exhibited some of his watercolors at the Royal Academy and, in May 1809, he exhibited his works at his brother James’s house. Some of those who saw the exhibit praised Blake’s artistry, but others thought the paintings “hideous” and more than a few called him insane. Blake’s poetry was not well known by the general public, but he was mentioned in A Biographical Dictionary of the Living Authors of Great Britain and Ireland , published in 1816. Samuel Taylor Coleridge , who had been lent a copy of Songs of Innocence and of Experience , considered Blake a “man of Genius,” and William  Wordsworth made his own copies of several songs. Charles Lamb sent a copy of “The Chimney Sweeper” from Songs of Innocence to James Montgomery for his Chimney-Sweeper’s Friend, and Climbing Boys’ Album (1824), and Robert Southey (who, like Wordsworth, considered Blake insane) attended Blake’s exhibition and included the “Mad Song” from Poetical Sketches in his miscellany, The Doctor (1834–37).

Blake’s final years, spent in great poverty, were cheered by the admiring friendship of a group of younger artists who called themselves “the Ancients.” In 1818, he met John Linnell, a young artist who helped him financially and also helped to create new interest in his work. It was Linnell who, in 1825, commissioned him to design illustrations for Dante ’s Divine Comedy , the cycle of drawings that Blake worked on until his death in 1827.

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Biography of William Blake, English Poet and Artist

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William Blake (November 28, 1757–August 12, 1827) was an English poet, engraver, printmaker, and painter. He is mostly known for his lyric poems Songs of Innocence and Songs of Experience, which combine simple language with complex subject matters, and for his epic poems, Milton and Jerusalem, that contrasted the canon of classical epic.

Fast Facts: William Blake

• Known For: Poet and engraver known for his seemingly simple poems containing complex themes and their companion illustrations and prints. As an artist, he is known for devising an innovative technique for colored engravings called illuminated printing.
• Born​: November 28, 1757 in Soho, London, England
• Parents: James Blake, Catherine Wright
• Died​: August 12, 1827 in London, England
• Education​: Largely homeschooled, apprenticed with engraver James Basire
• Selected Works: Songs of Innocence and of Experience (1789), The Marriage of Heaven and Hell (1790-93), Jerusalem (1804–1820),  Milton (1804-1810)
• Spouse: Catherine Boucher
• Notable Quote​: “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.” And "It is easier to forgive an enemy than to forgive a friend."

William Blake was born on November 28, 1757. His parents were Henry and Catherine Wright Blake. His family worked in the hosiery business and as small tradesmen, and money was tight but they weren’t poor. Ideologically, his parents were dissenters who challenged the teachings of the church, but they used the Bible and religious passages to interpret events of the world around them. Blake was raised with a sense that the righteous would triumph over the privileged.

Growing up, Blake was considered "different" and he was homeschooled. At age 8 or 10, he reported seeing angels and spangled stars, but it was a world where having visions wasn’t so peculiar. His parents recognized his artistic talent and his father bought him plaster casts and gave him small change to buy prints at auction houses. That’s where he was first exposed to the works of Michelangelo and Raffaello. From age 10 to 14, he went to drawing school, and after that, he started his apprenticeship with an engraver, where he stayed for the next seven years.

The engreaver's name was James Basire and he was the official engraver of the Society of Antiquaries and of the Royal Society. He never had more than two apprentices. Near the end of his apprenticeship, Blake was sent to Westminster Abbey to draw the tombs of the ancient kings and queens of England. This “gothicized” Blake’s imaginary, as he acquired a feeling of the medieval, which proved to be lasting influence throughout his career.

The Engraver (1760-1789)

Blake finished his apprenticeship at age 21 and became a professional engraver. For some time, he was enrolled in the Royal Academy of Arts in London. Four years later, in 1782, he married Catherine Boucher, an illiterate woman who is said to have signed her marriage contract with an X. Blake soon taught her to read, write, and etch.

In 1783, he published Poetical Sketches, and opened his own print shop with fellow apprentice James Parker in 1784. It was a turbulent time in history: the American revolution was coming to a close, and the French revolution was approaching. It was a period marked by instability, which affected him enormously. 

Innocence and Experience (1790-1799)

Tyger Tyger, burning bright, In the forests of the night; What immortal hand or eye, Could frame thy fearful symmetry?

In what distant deeps or skies. Burnt the fire of thine eyes? On what wings dare he aspire? What the hand, dare seize the fire?

And what shoulder, & what art, Could twist the sinews of thy heart? And when thy heart began to beat, What dread hand? & what dread feet?

What the hammer? what the chain, In what furnace was thy brain? What the anvil? what dread grasp, Dare its deadly terrors clasp! 

When the stars threw down their spears And water'd heaven with their tears: Did he smile his work to see? Did he who made the Lamb make thee?

Tyger Tyger burning bright, In the forests of the night: What immortal hand or eye, Dare frame thy fearful symmetry?

In 1790, Blake and his wife moved to North Lambeth and he had a decade of success, where he made enough money to produce his best known works. These include Songs of Innocence (1789) and Songs of Experience (1794) which are the two states of the soul. These were first written separately and then published together in 1795. Songs of Innocence is a collection of lyric poems, and superficially they appear to be written for children. Their form, however, sets them apart: they’re hand printed and hand colored works of art. The poems do have a nursery-rhyme quality about them.

Songs of Experience presents the same themes as Songs of Innocence, but examined from the opposite perspective. “The Tyger” is one of the most notable examples; it’s a poem that's seen in dialogue with “The Lamb of Innocence” where the speaker asks the lamb about the Creator who made it. The second stanza answers the question. “The Tyger” consists of a series of questions that are not answered, and is a source of energy and fire, something uncontrollable. God made both “The Tyger” and “The Lamb” and by stating this, Blake defied the idea of moral opposites.

Marriage of Heaven and Hell (1790–1793), a prose work containing paradoxical aphorisms, presents the devil as a heroic figure; while Visions of the Daughters of Albion (1793) combines radicalism with ecstatic religious imagery. For these works, Blake invented the style of "illuminated printing," in which he reduced the need of two different workshops that were till then needed to make an illustrated book. He was in charge of every single stage of production, and he also had freedom and could avoid censorship. In this period he produced Jerusalem and what is known as “Minor Prophecies.”

Later Life (1800-1827)

And did those feet in ancient time Walk upon Englands mountains green: And was the holy Lamb of God, On Englands pleasant pastures seen!

And did the Countenance Divine, Shine forth upon our clouded hills? And was Jerusalem builded here, Among these dark Satanic Mills?

Bring me my Bow of burning gold: Bring me my arrows of desire: Bring me my Spear: O clouds unfold! Bring me my Chariot of fire!

I will not cease from Mental Fight, Nor shall my sword sleep in my hand: Till we have built Jerusalem, In Englands green & pleasant Land.

Blake's success did not last forever. By 1800, his lucrative period was over and he took a job in Felpham, Sussex, to illustrate the works of William Hailey. While in Sussex, he had a fight with a drunk soldier who accused him of speaking treasonable words against the king. He went to trial and was acquitted. 

After Sussex, Blake returned to London and started working on Milton (1804–1808) and Jerusalem (1804–20), his two epic poems, the latter of which has its premise in a poem contained in the preface of the former. In Milton, Blake turned away from the classical epics—while typically this format deals with war, Milton was about poetic inspiration, featuring Milton coming back to Earth trying to explain what had gone wrong. He wants to set mankind against the movement towards war, which he identifies in the celebration of the classics, and wants to rectify with a celebration of christianity.

In Jerusalem, Blake portrayed the “sleep of Albion,” a figure for the nation, and it encouraged people to think beyond their limits. Jerusalem is a utopian idea on how mankind can live. Around 1818, he wrote the poem “The Universal Gospel.” In parallel to his poetic activity, his illustration business thrived. His Bible illustrations were popular objects, and in 1826, he was commissioned to illustrate Dante’s  Divine Comedy . While this work was cut short by his death, the existing illustrations show that they’re not just decorative pieces, but are actually a commentary on the source material. 

William Blake died on August 12, 1827, and was buried in a ground for dissenters. On the day of his death, he still worked on his Dante illustrations. 

Themes and Literary Style

Blake's style is easy to recognize, both in poetry and in his visual art. There’s something askew that makes him stand out among late-18th-century poets. His language is straightforward and unaffected, yet powerful in its directness. His work contains Blake’s own private mythology, where he rejects moral absolutes that mark the authoritarianism of organized religion. It draws from the Bible as well as Greek and Norse mythology. In The Marriage of Heaven and Hell (1790–1793) for example, the Devil is actually a hero rebelling against the authoritarianism of an impostor, a worldview that is mitigated in his later works; in Milton and Jerusalem, for instance, self-sacrifice and forgiveness are portrayed as redeeming qualities. 

Not a fan of organized religion, Blake only went to Church three times in his life: when he was christened, when he married, and when he died. He espoused the ideas of enlightenment, but he placed himself in a critical position towards it. He talked about Newton , Bacon, and Locke as the “Satanic Trinity” who had restricted it, leaving no place for art. 

Blake was a fierce critic of colonialism and enslavement, and was critical of the church because he claimed the clergy used their power to keep people down with the promise of the afterlife. The poem in which he expresses his vision of enslavement is “Visions of the Daughters Albion,” which features an enslaved girl who is raped by her enslaver and is jilted by her lover because she is not virtuous anymore. As a consequence, she launches in a crusade for social, political, and religious freedom, but her story ends in chains. This poem equates rape with colonialism, and also sheds light on the fact that rape was actually a common occurrence in plantations. The Daughters of Albion are the English women who wanted to end enslavement. 

There is a complex mythology surrounding Blake, which makes every generation find something in his work that appeals to their specific time. In our time, one of the greatest threats is sovereignty, which manifests itself in Brexit and the presidency of Donald Trump, and Blake notably spoke of similar regimes as “great evil.”

William Blake remained neglected for one generation after his death, until Alexander Gilchrist wrote his Life of William Blake in 1863, which led to a newfound appreciation for Blake among the pre-Raphaelites, such as Dante Gabriel Rossetti (who illustrated the Divine Comedy, too) and Algernon Swinburne. Yet, he labelled him a pictor ignotus, which means “unknown painter,” which hinted at the obscurity he had died in.

The modernists deserve credit for fully bringing Blake into the canon. W.B. Yeats resonated with Blake’s philosophical ideas, and also edited an edition of his collected works. Huxley cites Blake in his work The Doors of Perception, while beat poet Allen Ginsberg , as well as songwriters Bob Dylan, Jim Morrison, and Van Morrison all found inspiration in Blake’s work.

• Blake, William, and Geoffrey Keynes.  The Complete Writings of William Blake; with Variant Readings . Oxford U.P., 1966.
• Bloom, Harold.  William Blake . Blooms Literary Criticism, 2008.
• Eaves, Morris.  The Cambridge Companion to William Blake . Cambridge University Press, 2007.
• “The Forum, The Life and Works of William Blake.”  BBC World Service , BBC, 26 June 2018, www.bbc.co.uk/programmes/w3cswps4.
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William Blake Biography

Born: November 28, 1757 London, England Died: August 12, 1827 London, England English poet, engraver, and painter

William Blake was an English poet, engraver, and painter. A boldly imaginative rebel in both his thought and his art, he combined poetic and pictorial genius to explore life.

William Blake was born in London, England, on November 28, 1757, the second son of a mens' clothing merchant. Except for a few years in Sussex, England, his entire life was spent in London. From his earliest years he saw visions. He would see trees full of angels or similar sights. If these were not true mystical visions, they were the result of the artist's intense spiritual understanding of the world. From his early teens Blake wrote poems, often setting them to melodies of his own composition.

At age ten Blake started at the well-known Park's drawing school, and at age fourteen he began a seven-year apprenticeship (studying and practicing under someone skilled) to an engraver. It was as an engraver that Blake earned his living for the rest of his life. After he was twenty-one, Blake studied for a time at the Royal Academy of Arts, but he was unhappy with the instruction and soon left.

In August 1782 Blake married Catherine Boucher, who had fallen in love with him at first sight. He taught her to read and write, and she later became a valued assistant. His "sweet shadow of delight," as Blake called Catherine, was a devoted and loving wife.

Early works

After his father died in 1784, Blake set up a print shop next door to the family shop. In 1787 his beloved brother Robert died; thereafter William claimed that Robert communicated with him in visions. It was Robert, William said, who inspired him with a new method of illuminated etching. The words and or design were drawn in reverse on a plate covered with an acid-resisting substance; acid was then applied. From these etched plates pages were printed and later hand-colored. Blake used his unique methods to print almost all of his long poems.

In 1787 Blake produced Songs of Innocence (1789) as the first major work in his new process, followed by Songs of Experience (1794). The magnificent lyrics in these two collections carefully compare the openness of innocence with the bitterness of experience. They are a milestone because they are a rare instance of the successful union of two art forms by one man.

Days of betrayal

Blake spent the years 1800 to 1803 in Sussex working with William Hayley, a minor poet and man of letters. With good intentions Hayley tried to cure Blake of his unprofitable enthusiasms. Blake finally rebelled against this criticism and rejected Hayley's help. In Milton (c. 1800–1810), Blake wrote an allegory (story with symbols) of the spiritual issues involved in this relationship. He identified with the poet John Milton (1608–1674) in leaving the safety of heaven and returning to earth. Also at this time in life Blake was accused of uttering seditious (treasonous) sentiments. He was later found not guilty but the incident affected much of Blake's final epic (long lyric poem highlighting a single subject), Jerusalem (c. 1804–1820).

Back in London, Blake worked hard at his poems, engraving, and painting, but he suffered several reverses. He was the victim of fraud in connection with his designs for Blair's (1699–1746) poem The Grave. He also received insulting reviews of that project and of an exhibition he gave in 1809 to introduce his idea of decorating public buildings with portable frescoes (paintings done on moist plaster using water-based paints).

Blake had become a political sympathizer with the American and French Revolutions. He composed The Four Zoas as a mystical story predicting the future showing how evil is rooted in man's basic faculties—reason, passion, instinct, and imagination. Imagination was the hero.

Later years

The next decade is a sad and private period in Blake's life. He did some significant work, including his designs for Milton's poems L'Allegro and Il Penseroso (1816) and the writing of his own poem The Everlasting Gospel (c. 1818). He was also sometimes reduced to writing for others, and the public did not purchase or read his divinely inspired predictions and visions. After 1818, however, conditions improved. His last six years of life were spent at Fountain Court surrounded by a group of admiring young artists. Blake did some of his best pictorial work: the illustrations to the Book of Job and his unfinished Dante. In 1824 his health began to weaken, and he died singing in London, England, on August 12, 1827.

Continuing influence

Blake's history does not end with his death. In his own lifetime he was almost unknown except to a few friends and faithful sponsors. He was even suspected of being mad. But interest in his work grew during the middle of the nineteenth century, and since then very committed reviewers have gradually shed light on Blake's beautiful, detailed, and difficult mythology. He has been acclaimed as one who shares common ideals held by psychologists, writers (most notably William Butler Yeats [1865–1939]), extreme students of religion, rock-and-roll musicians, and people studying Oriental religion. The works of William Blake have been used by people rebelling against a wide variety of issues, such as war, conformity (behaving in a certain way because it is accepted or expected), and almost every kind of repression.

For More Information

Ackroyd, Peter. Blake. New York: Knopf, 1996.

Bentley, G. E., Jr. The Stranger from Paradise: A Biography of William Blake. New Haven, CT: Yale University Press, 2001.

King, James. William Blake, His Life. New York: St. Martin's Press, 1991.

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Biography Online

Biography William Blake

“Tyger, Tyger, burning bright In the forests of the night, What immortal hand or eye Could frame thy fearful symmetry?”

– William Blake – The Tyger (from Songs of Experience )

Short Bio of William Blake

William Blake was born in London 28 November 1757, where he spent most of his life. His father was a successful London hosier and attracted by the Religious teachings of  Emmanuel Swedenborg. Blake was first educated at home, chiefly by his mother.  Blake remained very close to his mother and wrote a lot of poetry about her.  Poems such as Cradle Song illustrate Blake’s fond memories for his upbringing by his mother:

Sweet dreams, form a shade O’er my lovely infant’s head; Sweet dreams of pleasant streams By happy, silent, moony beams. Sweet sleep, with soft down Weave thy brows an infant crown. Sweep sleep, Angel mild, Hover o’er my happy child.

– William Blake

His parents were broadly sympathetic with his artistic temperament and they encouraged him to collect Italian prints. He found work as an engraver, joining the trade at an early age. He found the early apprenticeship rather boring, but the skills he learnt proved useful throughout his artistic life. He became very skilled as an engraver and after completing his apprenticeship in 1779, he set up as an independent artist. He received many commissions and became well known as a skilled artist. Throughout his life, Blake was innovative and his willingness to depict the spirit world in physical form was criticised by elements of the press.

In 1791, Blake fell in love with Catherine Boucher, an illiterate and poor woman from Battersea across the Thames. The marriage proved a real meeting of mind and spirit. Blake taught his wife to read and write, and freely shared his inner and outer experiences. Catherine became a devoted wife and an uncompromising supporter of Blake’s artistic genius.

“Love seeketh not itself to please, Nor for itself hath any care, But for another gives its ease, And builds a heaven in hell’s despair.”

– Songs of Experience, The Clod and the Pebble, st. 1

Mystical experiences and poetry

‘Pity’ by William Blake

As a young boy, Blake recalls having a most revealing vision of seeing angels in the trees. These mystical visions returned throughout his life, leaving a profound mark on his poetry and outlook.

“I am not ashamed, afraid, or averse to tell you what Ought to be Told: That I am under the direction of Messengers from Heaven, Daily & Nightly; but the nature of such things is not, as some suppose, without trouble or care.” – Letters of William Blake

William Blake was also particularly sensitive to cruelty. His heart wept at the sight of man’s inhumanity to other men and children. In many ways he was also of radical temperament, rebelling against the prevailing orthodoxy of the day. His anger and frustration at the world can be seen in his collection of poems “ Songs of Experience ”

“How can the bird that is born for joy Sit in a cage and sing? How can a child, when fears annoy, But droop his tender wing, And forget his youthful spring!”

– William Blake: The Schoolboy

As well as writing poetry that revealed and exposed the harsh realities of life, William Blake never lost touch with his heavenly visions. Like a true seer, he could see beyond the ordinary world and glimpse another possibility.

“To see a world in a grain of sand And heaven in a wild flower Hold infinity in the palm of your hand And eternity in an hour.”

This poem from Auguries of Innocence is one of the most loved poems in the English language. Within four short lines, he gives an impression of the infinite in the finite, and the eternal in the transient.

One of Blake’s greatest poems – popularly referred to as ‘Jerusalem’ – was the preface to his epic work “Milton: A poem in two books”. This hymn was inspired by the story that Jesus travelled to Glastonbury, England – in the years before his documented life in the Gospels. To Blake, Jerusalem was a metaphor for creating Heaven on earth and transforming all that is ugly about modern life ‘dark satanic mills’ into ‘England’s green and pleasant land.” Jerusalem, set to music by Hubert Parry in 1916, is often seen as England’s unofficial national anthem.

On one occasion he got into trouble with the authorities for forcing a soldier to leave his back garden. It was in the period of the Napoleonic Wars where the government were cracking down on any perceived lack of patriotism. In this climate, he was arrested for sedition and faced the possibility of jail. Blake defended himself and despite the prejudices of those who disliked Blake’s anti-military attitude, he was able to gain an acquittal.

Religion of Blake

Outwardly Blake was a member of the Church of England, where he was christened, married and buried. However, his faith and spiritual experience was much deeper and more unconventional than orthodox religion. He considered himself a sincere Christian but was frequently critical of organised religion.

“And now let me finish with assuring you that, Tho I have been very unhappy, I am so no longer. I am again. Emerged into the light of day; I still & shall to Eternity Embrace Christianity and Adore him who is the Express image of God” – Letters of Blake

For the last few decades of his life, he never attended formal worship but saw religion as an inner experience to be held in private. Throughout his life, he experienced mystical experiences and visions of heavenly angels. These experiences informed his poetry, art and outlook on life. It made Blake see beyond conventional piety and value human goodness and kindness. He was a strong opponent of slavery and supported the idea of equality of man.

“If the doors of perception were cleansed, everything would appear to man as it is: infinite.” – Blake, The Marriage of Heaven and Hell (1790–1793)

Blake read the Bible and admired the New Testament, he was less enamoured of the judgements and restrictions found in the Old Testament. He was also influenced by the teaching of Emanuel Swedenborg, a charismatic preacher who saw the Bible as the literal word of God. Although Blake was, at times, enthusiastic about Swedenborg, he never became a member of his church, preferring to retain his intellectual and spiritual independence.

Blake died on August 12 1827. Eyewitnesses report that his death was a ‘glorious affair’. After falling ill, Blake sang hymns and prepared himself to depart. He was buried in an unmarked grave in a public cemetery and Bunhill Fields. After his death, his influence steadily grew through the Pre-Raphaelites and later noted poets such as T. S. Eliot and W. B. Yeats.

The esteemed poet, William Wordsworth , said on the death of Blake:

 “There was no doubt that this poor man was mad, but there is something in the madness of this man which interests me more than the sanity of Lord Byron and Walter Scott.”

The Art of William Blake

Newton by Blake

Citation: Pettinger, Tejvan . “ Biography of William Blake” , Oxford, UK www.biographyonline.net , 1st June. 2006. Page updated 23rd Jan 2020.

The Complete Poetry & Prose of William Blake

• The Complete Poetry & Prose of William Blake at Amazon.com
• The Complete Poetry & Prose of William Blake at Amazon.co.uk

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William blake biography in details.

William Blake once considered mad for his idiosyncratic views, Blake is highly regarded today for his expressiveness and creativity, as well as the philosophical and mystical undercurrents that reside within his work. His work has been characterized as part of the Romantic movement, or even "Pre-Romantic", for its largely having appeared in the 18th century.

Reverent of the Bible but hostile to the established Church, Blake was influenced by the ideals and ambitions of the French and American revolutions, as well as by such thinkers as Jacob Boehme and Emanuel Swedenborg.

Despite these known influences, the originality and singularity of Blake's work make it difficult to classify. One 19th century scholar characterised Blake as a "glorious luminary," "a man not forestalled by predecessors, nor to be classed with contemporaries, nor to be replaced by known or readily surmisable successors."

William Blake was born in 28A Broad Street, Golden Square, London, England on 28 November 1757, to a middle-class family. He was the third of 7 children, two of whom died in infancy. Blake's father, James, was a hosier. He never attended school, being educated at home by his mother. The Blakes were Dissenters, and are believed to have belonged to the Moravian Church. The Bible was an early and profound influence on Blake, and would remain a source of inspiration throughout his life.

Blake began engraving copies of drawings of Greek antiquities purchased for him by his father, a practice that was then preferred to actual drawing. Within these drawings Blake found his first exposure to classical forms, through the work of Raphael, Michelangelo, Marten Heemskerk and Albrecht Durer. His parents knew enough of his headstrong temperament that he was not sent to school but was instead enrolled in drawing classes. He read avidly on subjects of his own choosing. During this period, Blake was also making explorations into poetry; his early work displays knowledge of Ben Jonson and Edmund Spenser.

Apprenticeship to Basire

On 4 August 1772, Blake became apprenticed to engraver James Basire of Great Queen Street, for the term of seven years. At the end of this period, at the age of 21, he was to become a professional engraver.

There is no record of any serious disagreement or conflict between the two during the period of Blake's apprenticeship. However, Peter Ackroyd's biography notes that Blake was later to add Basire's name to a list of artistic adversaries-and then cross it out. This aside, Basire's style of engraving was of a kind held to be old-fashioned at the time, and Blake's instruction in this outmoded form may have been detrimental to his acquiring of work or recognition in later life.

After two years Basire sent him to copy images from the Gothic churches in London (it is possible that this task was set in order to break up a quarrel between Blake and James Parker, his fellow apprentice), and his experiences in Westminster Abbey contributed to the formation of his artistic style and ideas; the Abbey of his day was decorated with suits of armour, painted funeral effigies and varicoloured waxworks. Ackroyd notes that "the most immediate [impression] would have been of faded brightness and colour". In the long afternoons Blake spent sketching in the Abbey, he was occasionally interrupted by the boys of Westminster School, one of whom "tormented" Blake so much one afternoon that he knocked the boy off a scaffold to the ground, "upon which he fell with terrific Violence". Blake beheld more visions in the Abbey, of a great procession of monks and priests, while he heard "the chant of plain-song and chorale".

The Royal Academy

In 1778, Blake became a student at the Royal Academy in Old Somerset House, near the Strand. While the terms of his study required no payment, he was expected to supply his own materials throughout the six-year period. There, he rebelled against what he regarded as the unfinished style of fashionable painters such as Rubens, championed by the school's first president, Joshua Reynolds. Over time, Blake came to detest Reynolds' attitude toward art, especially his pursuit of "general truth" and "general beauty". Reynolds wrote in his Discourses that the "disposition to abstractions, to generalizing and classification, is the great glory of the human mind"; Blake responded, in marginalia to his personal copy, that "To Generalize is to be an Idiot; To Particularize is the Alone Distinction of Merit". Blake also disliked Reynolds' apparent humility, which he held to be a form of hypocrisy. Against Reynolds' fashionable oil painting, Blake preferred the Classical precision of his early influences, Michelangelo and Raphael.

Gordon Riots

Blake's first biographer Alexander Gilchrist records that in June 1780, Blake was walking towards Basire's shop in Great Queen Street when he was swept up by a rampaging mob that stormed Newgate Prison in London. They attacked the prison gates with shovels and pickaxes, set the building ablaze, and released the prisoners inside. Blake was reportedly in the front rank of the mob during this attack. These riots, in response to a parliamentary bill revoking sanctions against Roman Catholicism, later came to be known as the Gordon Riots; they provoked a flurry of legislation from the government of George III, as well as the creation of the first police force.

Despite Gilchrist's insistence that Blake was "forced" to accompany the crowd, some biographers have argued that he accompanied it impulsively, or supported it as a revolutionary act. In contrast, Jerome McGann argues that the riots were reactionary, and that events would have provoked "disgust" in Blake.

Marriage and early career

In 1782, Blake met John Flaxman, who was to become his patron, and Catherine Boucher, who was to become his wife. At the time, Blake was recovering from a relationship that had culminated in a refusal of his marriage proposal. Telling Catherine and her parents the story, she expressed her sympathy, whereupon Blake asked her, "Do you pity me?" To Catherine's affirmative response he responded, "Then I love you." Blake married Catherine - who was five years his junior - on 18 August 1782 in St. Mary's Church, Battersea. Illiterate, Catherine signed her wedding contract with an 'X'. Later, in addition to teaching Catherine to read and write, Blake trained her as an engraver; throughout his life she would prove an invaluable aid to him, helping to print his illuminated works and maintaining his spirits throughout numerous misfortunes.

At this time George Cumberland, one of the founders of the National Gallery, became an admirer of Blake's work. Blake's first collection of poems, Poetical Sketches, was published circa 1783. After his father's death, William and his brother Robert opened a print shop in 1784, and began working with radical publisher Joseph Johnson. Johnson's house was a place of meeting for some of the leading intellectual dissidents of the time in England: Joseph Priestley, scientist; Richard Price, philosopher; John Henry Fuseli; Mary Wollstonecraft, an early feminist; and Thomas Paine, American revolutionary. Along with William Wordsworth and William Godwin, Blake had great hopes for the American and French revolution and wore a Phrygian cap in solidarity with the French revolutionaries, but despaired with the rise of Robespierre and the Reign of Terror in the French revolution.

Blake illustrated Original Stories from Real Life (1788; 1791) by Mary Wollstonecraft. They seem to have shared some views on sexual equality and the institution of marriage, but there is no evidence proving without doubt that they actually met. In 1793's Visions of the Daughters of Albion, Blake condemned the cruel absurdity of enforced chastity and marriage without love and defended the right of women to complete self-fulfillment.

Relief etching

In 1788, at the age of 31, Blake began to experiment with relief etching, a method he would use to produce most of his books, paintings, pamphlets and of course his poems, including his longer 'prophecies' and his masterpiece the "Bible." The process is also referred to as illuminated printing, and final products as illuminated books or prints. Illuminated printing involved writing the text of the poems on copper plates with pens and brushes, using an acid-resistant medium. Illustrations could appear alongside words in the manner of earlier illuminated manuscripts. He then etched the plates in acid in order to dissolve away the untreated copper and leave the design standing in relief (hence the name).

This is a reversal of the normal method of etching, where the lines of the design are exposed to the acid, and the plate printed by the intaglio method. Relief etching, which Blake invented, later became an important commercial printing method. The pages printed from these plates then had to be hand-coloured in water colours and stitched together to make up a volume. Blake used illuminated printing for most of his well-known works, including Songs of Innocence and Experience, The Book of Thel, The Marriage of Heaven and Hell, and Jerusalem.

Later life and career

Blake's marriage to Catherine remained a close and devoted one until his death. There were early problems such as Catherine's illiteracy and the couple's failure to produce children[citation needed]. Gilchrist refers to "stormy times" in the early years of the marriage. Some biographers have suggested that Blake tried to bring a concubine into the marriage bed in accordance with the beliefs of the Swedenborgian Society, but other scholars have dismissed these theories as conjecture. Blake taught Catherine to write, and she helped him to colour his printed poems.

In 1800, Blake moved to a cottage at Felpham in Sussex (now West Sussex) to take up a job illustrating the works of William Hayley, a minor poet. It was in this cottage that Blake wrote Milton: a Poem (published between 1805 and 1808). The preface to this work includes a poem beginning "And did those feet in ancient time", which became the words for the anthem, "Jerusalem". Over time, Blake came to resent his new patron, coming to believe that Hayley was disinterested in true artistry, and preoccupied with "the meer drudgery of business". Blake's disenchantment with Hayley has been speculated to have influenced Milton: a Poem, in which Blake wrote that "Corporeal Friends are Spiritual Enemies".

Blake's trouble with authority came to a head in August 1803, when he was involved in a physical altercation with a soldier called John Schofield. Blake was charged not only with assault, but also with uttering seditious and treasonable expressions against the King. Schofield claimed that Blake had exclaimed, "Damn the king. The soldiers are all slaves." Blake would be cleared in the Chichester assizes of the charges. According to a report in the Sussex county paper, "The invented character of [the evidence] was ... so obvious that an acquittal resulted." Schofield was later depicted wearing "mind forged manacles" in an illustration to Jerusalem.

Return to London

Blake returned to London in 1804 and began to write and illustrate Jerusalem (1804-1820), his most ambitious work. Having conceived the idea of portraying the characters in Chaucer's Canterbury Pilgrims, Blake approached the dealer Robert Cromek, with a view to marketing an engraving. Knowing that Blake was too eccentric to produce a popular work, Cromek promptly commissioned Thomas Stothard to execute the concept. When Blake learned that he had been cheated, he broke off contact with Stothard, formerly a friend. He also set up an independent exhibition in his brother's shop, designed to market his own version of the Chaucer illustration, along with other works. As a result he wrote his Descriptive Catalogue (1809), which contains what Anthony Blunt has called a "brilliant analysis" of Chaucer. It is regularly anthologised as a classic of Chaucer criticism. It also contained detailed explanations of his other paintings.

He was introduced by George Cumberland to a young artist named John Linnell. Through Linnell he met Samuel Palmer, who belonged to a group of artists who called themselves the Shoreham Ancients. This group shared Blake's rejection of modern trends and his belief in a spiritual and artistic New Age. At the age of 65 Blake began work on illustrations for the Book of Job. These works were later admired by Ruskin, who compared Blake favourably to Rembrandt, and by Vaughan Williams, who based his ballet Job: A Masque for Dancing on a selection of the illustrations.

Later in his life Blake began to sell a great number of his works, particularly his Bible illustrations, to Thomas Butts, a patron who saw Blake more as a friend than a man whose work held artistic merit; this was typical of the opinions held of Blake throughout his life.

Dante's Inferno

The commission for Dante's Inferno came to Blake in 1826 through Linnell, with the ultimate aim of producing a series of engravings. Blake's death in 1827 would cut short the enterprise, and only a handful of the watercolours were completed, with only seven of the engravings arriving at proof form. Even so, they have evoked praise:

'[T]he Dante watercolours are among Blake's richest achievements, engaging fully with the problem of illustrating a poem of this complexity. The mastery of watercolour has reached an even higher level than before, and is used to extraordinary effect in differentiating the atmosphere of the three states of being in the poem'.

Blake's illustrations of the poem are not merely accompanying works, but rather seem to critically revise, or furnish commentary on, certain spiritual or moral aspects of the text. In illustrating Paradise Lost, for instance, Blake seemed intent on revising Milton's focus on Satan as the central figure of the epic; for example, in Satan Watching the Endearments of Adam and Eve (1808), Satan occupies an isolated position at the picture's top, with Adam and Eve centered below. As if to emphasise the effects of the juxtaposition, Blake has shown Adam and Eve caught in an embrace, whereas Satan may only onanistically caress the serpent, whose identity he is close to assuming.

In this instance, because the project was never completed, Blake's intent may itself be obscured. Some indicators, however, bolster the impression that Blake's illustrations in their totality would themselves take issue with the text they accompany: In the margin of Homer Bearing the Sword and His Companions, Blake notes, "Every thing in Dantes Comedia shews That for Tyrannical Purposes he has made This World the Foundation of All & the Goddess Nature & not the Holy Ghost." Blake seems to dissent from Dante's admiration of the poetic works of the ancient Greeks, and from the apparent glee with which Dante allots punishments in Hell (as evidenced by the grim humour of the cantos).

At the same time, Blake shared Dante's distrust of materialism and the corruptive nature of power, and clearly relished the opportunity to represent the atmosphere and imagery of Dante's work pictorially. Even as he seemed to near death, Blake's central preoccupation was his feverish work on the illustrations to Dante's Inferno; he is said to have spent one of the very last shillings he possessed on a pencil to continue sketching.

On the day of his death, Blake worked relentlessly on his Dante series. Eventually, it is reported, he ceased working and turned to his wife, who was in tears by his bedside. Beholding her, Blake is said to have cried, "Stay Kate! Keep just as you are - I will draw your portrait - for you have ever been an angel to me." Having completed this portrait (now lost), Blake laid down his tools and began to sing hymns and verses. At six that evening, after promising his wife that he would be with her always, Blake died. Gilchrist reports that a female lodger in the same house, present at his expiration, said, "I have been at the death, not of a man, but of a blessed angel."

Since 1965, the exact location of William Blake's grave had been lost and forgotten, while gravestones were taken away to create a new lawn. Nowadays, William Blake's grave is commemorated by a stone that reads 'near by lie the remains of William Blake and his wife Catherine Sophia'. This memorial stone is situated approximately 20 metres away from William Blake's grave. The actual spot of Blake's grave is not marked. However, members the group Friends of William Blake have rediscovered the location of Blake's grave and intend to place a permanent memorial at the site.

George Richmond gives the following account of Blake's death in a letter to Samuel Palmer:

"He died ... in a most glorious manner. He said He was going to that Country he had all His life wished to see & expressed Himself Happy, hoping for Salvation through Jesus Christ - Just before he died His Countenance became fair. His eyes Brighten'd and he burst out Singing of the things he saw in Heaven."

Catherine paid for Blake's funeral with money lent to her by Linnell. He was buried five days after his death - on the eve of his forty-fifth wedding anniversary - at the Dissenter's burial ground in Bunhill Fields, where his parents were also interred. Present at the ceremonies were Catherine, Edward Calvert, George Richmond, Frederick Tatham and John Linnell. Following Blake's death, Catherine moved into Tatham's house as a housekeeper. During this period, she believed she was regularly visited by Blake's spirit. She continued selling his illuminated works and paintings, but would entertain no business transaction without first "consulting Mr. Blake". On the day of her own death, in October 1831, she was as calm and cheerful as her husband, and called out to him "as if he were only in the next room, to say she was coming to him, and it would not be long now".

On her death, Blake's manuscripts were inherited by Frederick Tatham, who burned several of those which he deemed heretical or too politically radical. Tatham had become an Irvingite, one of the many fundamentalist movements of the 19th century, and was severely opposed to any work that smacked of blasphemy. Sexual imagery in a number of Blake's drawings was also erased by John Linnell. Blake is now recognised as a saint in the Ecclesia Gnostica Catholica. The Blake Prize for Religious Art was established in his honour in Australia in 1949. In 1957 a memorial was erected in Westminster Abbey, in memory of him and his wife. (From wikipedia)

William Blake

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Home > By Subject > Poetry > Biography of William Blake, 1757-1827

Biography of William Blake, 1757-1827

Biographical sketch by wendi capehart and leslie laurio.

William Blake was born in the Soho part of London on the 28th of November, 1757. His father, James Blake, kept a hosier's shop where he sold stockings. The family were not very well to do. Young William, a born individualist, was already marching to the beat of his own drum, although it meant he was often alone.

Even as a child, William Blake was clearly talented at design, and his father tried to do what he could to help his son realize his full potential. At the age of ten the boy was sent to a drawing school in the Strand (a part of London known as a place of entertainment, but which was also the home of many publishers and print shops). Meanwhile, William was cultivating his own artistic taste by constantly attending the different art sale rooms. He was strongly opinionated about what he liked, and was called "the little connoisseur." He began to collect printed copies of pictures by Michelangelo, Raphael, Dürer, and Heemskerk.

As a young man he was apprenticed to James Basire, a respected engraver, and he worked there for seven years. His apprenticeship had a great influence on his artistic education, and made him a skilled engraver. Almost all of his artistic output was in the form of engravings. At the end of his apprenticeship, he attended the school of the Royal Academy, where he continued his early study of antique art. Here, for the first time, he had the opportunity to draw from live models.

Not much is known of Blake's artistic education. We do not know if he ever systematically studied painting. He began using water colors on his own, and probably taught himself.

While he was still an apprentice, he married Catherine Boucher, the daughter of a market gardener who was his landlord and friend. He taught her to read and write, and trained her to engrave. She helped him to hand-color his illustrations throughout his life. They remained happily married until his death.

Blake had already become acquainted with some of the rising artists of his time, and now he began to meet literary people. At the Rev. Henry Mathew's home in Rathbone Place, he used to recite and sometimes sing poems he had written, and it was through the influence of Rev. Mathews that his first volume of poetry, called Poetical Sketches , was published in 1783.

William Blake had been educated as an engraver, but this book introduced him to the world as an artist who was also a gifted poet. He continued to publish his unique poems with his own original designs for the rest of his life.

In 1787, the Songs of Innocence were published. This book is remarkable for the beauty of both its verse and design, as well as the way the two were combined and expressed by the artist. Blake became his own printer and publisher. He engraved on copper, using a process he devised himself, and included engravings of both the text of his poems and the surrounding decorative design on the same plate. After the pages were printed from the copper plates, he colored them in by hand. Blake produced a work of fresh and living beauty in a way that had never been done before.

In spite of the distinct and beautiful quality of this book, it attracted very little attention. Perhaps that's not so surprising, considering the painstaking way in which it was created. But William Blake, never one to adapt himself to please the public, continued to produce other books of the same kind.

Blake was a stubborn individualist and visionary whose writings can't be judged by ordinary rules. The Songs of Experience , published in 1794 as a companion to the earlier Songs of Innocence , are mostly intelligible and coherent, but in these intervening works of "prophecy," as he called them, we see the first public glimpse of the part of his character and of his genius that made others wonder if he was completely sane. The question of whether Blake was or was not completely sane is still debated, but there is no doubt that he was sometimes under the influence of illusions that can't be explained. Much of his writing seems so unintelligible that there's no logical coherence. He clearly saw visions.

By 1796 Blake was actively employed as an illustrator. Richard Edwards, a bookseller in London, wanted to publish a new edition of Edward Young's Night Thoughts , and Blake was chosen to illustrate the work. The plan was to publish the work in nine parts, but only the first part, which including forty-three designs by Blake, was ever printed. These designs were engraved by Blake himself. Not only are they beautiful works of art in themselves, but Blake used his own peculiar system to associate each illustration with the text. Even today, the book is better known because of Blake's illustrations than for Young's poems.

Soon after the publication of this book, Blake was introduced to the poet William Hayley, and at Hayley's suggestion, he moved to Sussex. Hayley was planning to write a biography of William Cowper, and wanted Blake to illustrate it and keep him company. Blake lived in Sussex for three years. This was partly pleasant and partly inconvenient to Blake, and it apparently didn't help the progress of his art. One of the inconveniences was when he was tried for treason because of a rumor started by a soldier after Blake made him leave his garden. But even more inconvenient was his increasing irritation with William Hayley.

In 1804 Blake returned to London and began work on his most ambitious project--a book called Jerusalem which contained his own mythology mixed with his prophetic visions. He also worked on illustrations for The Book of Job.

He was working on prints to illustrate Dante's Divine Comedy when he died in 1827. When he saw his wife, Catherine, weeping at his bedside, he said to her, "Stay Kate! Keep just as you are--I will draw your portrait--for you have ever been an angel to me."

After William Blake died, his faithful wife continued to sell his artwork. She died four years later.

William Blake: A Biography

William blake 1757-1827.

Although not highly regarded either as a painter or poet by his contemporaries William Blake has the distinction of finding his place in the top ten of both English writers and English painters.

The reason he was disregarded is because he was very much ahead of his time in his views and his poetic style, and also because he was regarded as being somewhat mad, due to behaviour that would be thought of as only slightly eccentric today– for example, his naturistic habit of walking about his garden naked and sunbathing there. He illustrated his poems and the poems of others like Chaucer, Dante and Milton but his exhibitions of these illustrations were sneered at, and one reviewer wrote that they were  ‘nonsense, unintelligibleness and egregious vanity,’ and another called Blake ‘an unfortunate lunatic.’

Regarding his views, he was vehemently opposed to organised religion and the way it constrained natural human activity, such as sex. In one of his poems, The Garden of Love , he specifically accuses the church of that. During a walk in the garden of love he sees ‘priests in black gowns were walking their rounds/And binding with briars my joys and desires.’

Blake began training as an illustrator and engraver and worked at that as his day job. And in the meantime, he wrote his poems.

The most important thing about Blake as a poet is his rejection of the highly sophisticated verse structures of the 18 th century: he looked back to the more immediate, accessible poetry of Shakespeare, Jonson and the Jacobeans. He used monosyllabic words and packed more meaning and feeling into them that any of the poets of his time did, writing their expansive, sophisticated poems full of figures of speech. For example, two of Blake’s most famous collections: Songs of Innocence and Songs of Experience contain some of the finest and most profound of English poems, all done in the most simple language.

William Blake portrait

Songs of Innocence reveals a world of childhood innocence, written in nursery rhyme rhythms but containing shadows of the world of experience to come – so The Lamb , often taught to children to recite as a nursery rhyme has its counterpart in the Songs of Experience in The Tyger (Tyger tiger burning bright/In the forests of the night…) The Tyger is also expressed as a nursery rhyme and learnt by children but it is at the opposite end of experience.

The poems in The Songs of Experience pack a huge punch. Take a look at The Sick Rose . It has only thirty-three words, only five of which have two syllables. And yet the poem goes deep into the world of relationships and social attitudes:

‘O Rose, thou art sick! The invisible worm That flies in the night, In the howling storm, Has found out thy bed Of crimson joy, And his dark secret love Does thy life destroy.’

The idea of love destroying someone’s life is at the centre of the poem. The love is forced to be dark and secret because social attitudes, conditioned by the Church, are opposed to sexual love. The language is highly sexual – crimson joy, bed of crimson joy, worm etc – and what should be something joyful becomes a disease instead.

Decades before Charles Dickens ’ great  novels that depicted the suffering of the poor Blake was writing poems about the terrible phenomena of chimneysweeps, beggars and the injustice of social inequality. In wandering through the streets of London he sees these horrors:

‘How the Chimney-sweeper’s cry Every black’ning Church appals And the hapless Soldier’s sigh Runs in blood down Palace walls.’

William Blake’s most famous poem Jerusalem (“And did those feet in ancient times”), is still regularly sung as an anthem at gatherings of numerous societies, and at the end of the world’s top music festival, the Proms in London , by a well known singer. Read our collection of the very best William Blake quotes .

Read more about England’s top writers >> Read biographies of the 30 greatest writers ever >>

Interested in William Blake? If so you can get some additional free information by visiting our friends over at PoemAnalysis to read their analysis of William Blake’s poetic works .

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