Lear and Cordelia

probably c. 1806/1808 · Print

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『Lear and Cordelia』は今どこに？ 所蔵: ナショナル・ギャラリー, ワシントンD.C. 現在は展示されていません. 確認 2026年9月29日.

ナショナル・ギャラリー

ワシントンD.C., アメリカ合衆国

コレクションに属していますが、現在は展示されていません。

確認: 12 日前
この状態になった日: 2026年8月19日
出典: 美術館

地図で見る美術館のページ

作品データ

収蔵番号: 1943.3.8979

描かれているもの

Hand 男性 Female figures

カタログ収録

版画エングレーヴィング新古典主義ロマン主義 19世紀 British

出典

ナショナル・ギャラリー
画像：ナショナル・ギャラリー — Museum open access

その頃、William Blakeの人生では

生涯をすべて見る

1780–1808
Exhibits six times at the Royal Academy
Despite his antagonism towards Reynolds, Blake submitted works to the Royal Academy on six occasions between 1780 and 1808.
1803年10月–1820 · 居住
South Molton Street
1804
Returns to London and begins “Jerusalem”
In 1804 Blake returned to London and began to write and illustrate “Jerusalem: The Emanation of the Giant Albion” (1804–20), his most ambitious work.
after 1804
Cromek cheats Blake; Stothard gets the commission
Having conceived the idea of portraying the characters of Chaucer's “Canterbury Tales”, Blake approached the dealer Robert Cromek with a view to marketing an engraving; Cromek, thinking Blake too eccentric to produce a popular work, promptly commissioned Blake's friend Thomas Stothard instead. When Blake learned he had been cheated, he broke off contact with Stothard.
c. 1808
Polemical annotations to Reynolds's “Discourses”
Around 1808 Blake gave vigorous expression to his views on art in an extensive series of polemical annotations to Sir Joshua Reynolds's “Discourses”, denouncing the Royal Academy as a fraud and proclaiming that to generalise is to be an idiot.
1809
An exhibition in his brother's shop: nothing sold
Blake set up an independent exhibition in his brother's haberdashery shop at 27 Broad Street in Soho to market his version of “The Canterbury Pilgrims” along with other works. It was very poorly attended, sold none of the temperas or watercolours, and its only review, in The Examiner, was hostile.