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Kolekcje: Art Institute of Chicago, Cleveland Museum of Art, Cooper Hewitt, Smithsonian Design Museum, Ermitaż, Galeria Tretiakowska, Getty Villa, Harvard Art Museums, Hirshhorn Museum and Sculpture Garden, J. Paul Getty Museum, Luwr, Metropolitan Museum of Art, Minneapolis Institute of Art, Museum of Modern Art, Muzeum Sztuk Pięknych im. Puszkina w Moskwie, Muzeum Wiktorii i Alberta, National Gallery of Art, National Museum of Asian Art, National Portrait Gallery, Państwowe Muzeum Rosyjskie, Państwowe Muzeum Sztuki w Kopenhadze, Rijksmuseum, Smithsonian American Art Museum and the Renwick Gallery, Whitney Museum of American Art, Yale Center for British Art, Yale University Art Gallery, Państwowy Katalog Zbiorów Muzealnych Rosji (274 muzea), Europeana (19 muzeów), Wikidata (44 muzea), Paris Musées (12 muzeów), Joconde, baza muzealna francuskiego Ministerstwa Kultury (495 muzeów) i Catalogo generale dei Beni Culturali włoskiego Ministerstwa Kultury (25 muzeów). Prawa do zdjęć należą do ich właścicieli.

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130 252 dzieła z 146 muzeów133 teraz na wystawieWyczyść wszystko

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Visions of the Daughters of Albion: The Eye Sees More than the Heart Knows, William Blake, 1793William BlakeVisions of the Daughters of Albion: The Eye Sees More than the Heart Knows1793Yale Center for British Art
'Love, and love only, is the loan for love' (Page 37), William Blake, 1797William Blake'Love, and love only, is the loan for love' (Page 37)1797Yale Center for British Art
Death's Door (Plate 17), William Blake, 1826William BlakeDeath's Door (Plate 17)1826Yale Center for British Art
Night the Third. Narcissa; Title Page, William Blake, 1797William BlakeNight the Third. Narcissa; Title Page1797Yale Center for British Art
Love Songs, Class III. Headpiece, William Blake, 1783William BlakeLove Songs, Class III. Headpiece1783Yale Center for British Art
I Want! I Want! (Plate 11), William Blake, 1793William BlakeI Want! I Want! (Plate 11)1793Yale Center for British Art
'Its favours here are trials, not rewards' (Page 12), William Blake, 1797William Blake'Its favours here are trials, not rewards' (Page 12)1797Yale Center for British Art
'When faith is virtue, reason makes it so' (Page 92), William Blake, 1797William Blake'When faith is virtue, reason makes it so' (Page 92)1797Yale Center for British Art
Chapter IV, "Ages on ages roll'd over him..." (Plate 9), William Blake, 1794William BlakeChapter IV, "Ages on ages roll'd over him..." (Plate 9)1794Yale Center for British Art
Night (Plate 16), William Blake, 1789William BlakeNight (Plate 16)1789Yale Center for British Art
"Became a Space & an Allegory..." (Plate 85), William Blake, 1804 to 1820William Blake"Became a Space & an Allegory..." (Plate 85)1804 to 1820Yale Center for British Art
"In living creations appear'd..." (Plate 6), William Blake, 1794William Blake"In living creations appear'd..." (Plate 6)1794Yale Center for British Art
The Six-Footed Serpent Attacking Agnolo Brunelleschi (Plate 4), William Blake, 1827William BlakeThe Six-Footed Serpent Attacking Agnolo Brunelleschi (Plate 4)1827Yale Center for British Art
'Till death, that mighty hunter, earths them all' (Page 70), William Blake, 1797William Blake'Till death, that mighty hunter, earths them all' (Page 70)1797Yale Center for British Art
Aged Ignorance (Plate 13), William Blake, 1826William BlakeAged Ignorance (Plate 13)1826Yale Center for British Art
Earth (Plate 5), William Blake, 1826William BlakeEarth (Plate 5)1826Yale Center for British Art
The Conjugal Union of Cupid, William Blake, 1794William BlakeThe Conjugal Union of Cupid1794Yale Center for British Art
"Therefore God becomes as we are..." (Plate 9), William Blake, ca. 1788William Blake"Therefore God becomes as we are..." (Plate 9)ca. 1788Yale Center for British Art
"My son! my Son!" (Plate 10), William Blake, 1826William Blake"My son! my Son!" (Plate 10)1826Yale Center for British Art
Venus Counsels Cupid, William Blake, 1794William BlakeVenus Counsels Cupid1794Yale Center for British Art
Night the First. On Life, Death, and Immortality; Title Page, William Blake, ca. 1797William BlakeNight the First. On Life, Death, and Immortality; Title Pageca. 1797Yale Center for British Art
'Love, and love only, is the loan for love' (Page 37), William Blake, ca. 1797William Blake'Love, and love only, is the loan for love' (Page 37)ca. 1797Yale Center for British Art
Night the Third. Narcissa; Title Page, William Blake, ca. 1797William BlakeNight the Third. Narcissa; Title Pageca. 1797Yale Center for British Art
"All Human Forms identified... The End of The Song of Jerusalem" Colophon (Plate 99), William Blake, 1804 to 1820William Blake"All Human Forms identified... The End of The Song of Jerusalem" Colophon (Plate 99)1804 to 1820Yale Center for British Art
'The vale of death! that hush'd cimmerian vale' (Page 54), William Blake, 1797William Blake'The vale of death! that hush'd cimmerian vale' (Page 54)1797Yale Center for British Art
Fire (Plate 7), William Blake, 1826William BlakeFire (Plate 7)1826Yale Center for British Art
Epicurus, William Blake, 1821William BlakeEpicurus1821Yale Center for British Art
The Dog; Frontispiece, William Blake, 1805William BlakeThe Dog; Frontispiece1805Yale Center for British Art
Aristophanes Clouds. Scene I, William Blake, 1795William BlakeAristophanes Clouds. Scene I1795Yale Center for British Art
For Children. The Gates of Paradise, London, by William Blake, William Blake, 1793William BlakeFor Children. The Gates of Paradise, London, by William Blake1793Yale Center for British Art
Love Songs, Class III. Tailpiece, William Blake, 1783William BlakeLove Songs, Class III. Tailpiece1783Yale Center for British Art
'The thunder, if in that the Almighty dwells' (Page 80), William Blake, 1797William Blake'The thunder, if in that the Almighty dwells' (Page 80)1797Yale Center for British Art
London (Plate 39), William Blake, 1794William BlakeLondon (Plate 39)1794Yale Center for British Art
'Draw the dire steel? – ah no! – the dreadful blessing' (Page 73), William Blake, ca. 1797William Blake'Draw the dire steel? – ah no! – the dreadful blessing' (Page 73)ca. 1797Yale Center for British Art
Introduction (Plate 3), William Blake, 1789William BlakeIntroduction (Plate 3)1789Yale Center for British Art
Chapter VII, "Stretch'd for a work of eternity..." (Plate 19), William Blake, 1794William BlakeChapter VII, "Stretch'd for a work of eternity..." (Plate 19)1794Yale Center for British Art
Ancient Ballads, Tailpiece, William Blake, 1783William BlakeAncient Ballads, Tailpiece1783Yale Center for British Art
The Argument. "Man has no notion of moral fitness..." (Plate 2", William Blake, ca. 1788William BlakeThe Argument. "Man has no notion of moral fitness..." (Plate 2"ca. 1788Yale Center for British Art
The Trance of Juliet, William Blake, 1799William BlakeThe Trance of Juliet1799Yale Center for British Art
The Peasants' Nest: Cowper's tame Hares, William Blake, 1802William BlakeThe Peasants' Nest: Cowper's tame Hares1802Yale Center for British Art
Octavius Augustus Cæsar, William Blake, 1821William BlakeOctavius Augustus Cæsar1821Yale Center for British Art
Ciampolo the Barrator Tormented by the Devils (Plate 2), William Blake, 1827William BlakeCiampolo the Barrator Tormented by the Devils (Plate 2)1827Yale Center for British Art
"To The Accuser who is The God of This World..." (Plate 19), William Blake, 1826William Blake"To The Accuser who is The God of This World..." (Plate 19)1826Yale Center for British Art
Canto V. Verse 43, William Blake, 1803William BlakeCanto V. Verse 431803Yale Center for British Art
'The thunder, if in that the Almighty dwells' (Page 80), William Blake, 1797William Blake'The thunder, if in that the Almighty dwells' (Page 80)1797Yale Center for British Art
My Pretty Rose Tree (Plate 47), William Blake, 1794William BlakeMy Pretty Rose Tree (Plate 47)1794Yale Center for British Art
"I have heard Jerusalems groans..." (Plate 82), William Blake, 1804 to 1820William Blake"I have heard Jerusalems groans..." (Plate 82)1804 to 1820Yale Center for British Art
'The present moment terminates our sight' (Page 13), William Blake, 1797William Blake'The present moment terminates our sight' (Page 13)1797Yale Center for British Art
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