Collected Essays on William Blake and his Times
Blake as Printmaker and Painter
“William Blake’s 1818 Letter to Dawson Turner and Later Career as Graphic Artist.” Britain, Representation, and Nineteenth-Century History. Online chronology: <branchcollective.org>. March 2022.
“Posthumous Blake: The Roles of Catherine Blake, C. H. Tatham, and Frederick Tatham in Blake’s Afterlife.” Blake/An Illustrated Quarterly, vol. 53. no. 3 (Fall, 2019).
“On Not Reading Blake’s Large Color Prints.” The Wordsworth Circle. (Winter, 2019): 3-9.
“The Newly Discovered Adam and Eve Asleep: Blake’s or Copy.” Blake/An Illustrated Quarterly, Fall 2017).
“Signing Large Color Prints: The Significance of Blake’s Signatures.” Huntington Library Quarterly. Fall, 2017: 365-402.
“Blake’s Invention of Illuminated Printing, 1788.” Britain, Representation, and Nineteenth-Century History. Online chronology: March 2012.
“Blake’s Illuminated Word.” Art, Word, and Image: 1000 Years of Visual/Textual Interaction. Ed. John Dixon Hunt, David Lomas, Michael Corris. London: Reaktion Books Ltd., 2009. 84-107.
“Blake’s Relief Etching Process: A Simplified Account,” from The Art of William Blake’s Illuminated Prints, Manchester Etching Workshop (1983), reprinted in Blake’s Poetry and Designs, Norton Critical Edition, second edition, revised, NY: Norton and Company, 2008.
“Blake’s ‘Annus Mirabilis’: the Productions of 1795.” Blake/An Illustrated Quarterly (Fall, 2007): 52-83.
“Blake’s Virtual Designs and Reconstruction of The Song of Los.” Special Issue on Romanticism and Technology, Romanticism on the Net, http://www.ron.umontreal.ca/ (September 2006).
“Illuminated Printing.” Cambridge Companion to William Blake. Ed. Morris Eaves. Cambridge University Press, 2003. 37-62.
“Blake’s Method of Color Printing: Some Responses and Further Observations” (with Robert Essick). Blake/An Illustrated Quarterly (Fall, 2002): 49-64.
“An Inquiry into William Blake’s Method of Color Printing” (with Robert Essick). Blake/An Illustrated Quarterly (Winter, 2001/02): 73-102.
“In the Caves of Heaven and Hell: Swedenborg and Printmaking in Blake’s Marriage“ [Part III of The Evolution of William Blake’s The Marriage of Heaven and Hell]. Blake in the Nineties. Eds. Steven Clark and David Worrall. London: Macmillan, 1999. 27-60.
“Lessons of Swedenborg: or, the Origin of Blake’s The Marriage of Heaven and Hell“ [Part II. of The Evolution of William Blake’s The Marriage of Heaven and Hell]. Lessons of Romanticism. Eds. Robert Gleckner and Thomas Pfau. Durham, N.C.: Duke University Press, 1998. 173-212.
“The Evolution of William Blake’s The Marriage of Heaven and Hell“ [Part I]. Huntington Library Quarterly 58.3&4 (1997): 281-344.
“William Blake, Illuminated Books, and the Concept of Difference.” Essays on Romanticism. Eds. Karl Kroeber and Gene Ruoff. New Brunswick: Rutgers University Press, 1993. 63-87.
“Reading, Drawing, Seeing Illuminated Books.” Approaches to Teaching William Blake’s Songs of Innocence and of Experience. Eds. R. Gleckner and M. Greenberg. New York: MLA, 1989. 67-73.
“Recreating Blake: the M.E.W. Blake Facsimiles.” Blake/An Illustrated Quarterly 19 (Summer, 1985): 4-23.
“Forgery or Facsimile? An Examination of America copy B, plates 4 and 9.” Blake/An Illustrated Quarterly 16 (Spring, 1983): 217-223.
“Blake’s Workshop.” Studies in Romanticism 21 (Fall, 1982): 404-409.
Blake in the 19th-Century
“Two Fake Blakes Revisited, One Dew-Smith Revealed.” Blake in Our Time: Essays in Honour of G. E. Bentley, Jr. Ed. Karen Mulhallen. Toronto: University of Toronto Press, 2010. 35-78.
“Blake after Blake: A Nation Discovers Genius.” Blake, Nation, Empire. Eds. Steve Clark and David Worrall. London: Palgrave, 2006. 23-262.
“Blake’s Death” (with Dr. Lane Robson, MD). Blake/An Illustrated Quarterly (Fall, 1996): 36-49.
“A ‘Green House’ for Butts? New Information about Thomas Butts, His Residences, and Family.” Blake/An Illustrated Quarterly (Summer, 1996): 4-21.
“Blake in the Marketplace 1852: Thomas Butts, Jr. and Other Unknown Nineteenth-century Blake Collectors.” Blake/An Illustrated Quarterly (Fall, 1995): 40-69.
“William Blake’s ‘The Phoenix / to Mrs. Butts’ Redux.” Blake/An Illustrated Quarterly 29 (Summer, 1995): 12-15.
“A Breach in a City, the Morning After the Battle: Lost or Found?” Blake/An Illustrated Quarterly (Fall, 1994): 44-59.
“The Myth of Commissioned Illuminated Books: George Romney, Isaac D’Israeli, and `ONE HUNDRED AND SIXTY designs . . . of Blake’s’.” Blake/An Illustrated Quarterly 23 (Autumn, 1989): 48-74.
The William Blake Archive
“`Once Only Imagined’: An Interview with Morris Eaves, Robert N. Essick, and Joseph Viscomi on the Past, Present, and Future of Blake Studies.” Conducted by Kari Kraus. Romantic Circles <http://www.rc.umd.edu/praxis/blake>
“The William Blake Archive: The Medium when the Millenium is the Message.” (with Morris Eaves and Robert N. Essick). Romanticism and Millenarianism. Ed. Tim Fulford. New York: Palgrave, 2002. 219-33.
“Digital Facsimiles: Reading the William Blake Archive.” Computers and Humanities 36.1 (2002): 27-48.
“The Persistence of Vision: Images and Imaging at the William Blake Archive” (with Morris Eaves, Robert Essick, and Matthew Kirschenbaum). RLG DigiNews 4.1 (February 2000) <http://www.rlg.org/preserv/diginews>
“Standards, Methods, Objectives of the William Blake Archive: A Response to Mary Lynn Johnson, Andrew Cooper, and Michael Simpson” (with Morris Eaves, Robert Essick, and Matthew Kirschenbaum). The Wordsworth Circle (Summer, 1999): 135-144.
Review Essays:
Morris Eaves, The Counter-Arts Conspiracy: Art and Industry in the Age of Blake. The Wordsworth Circle (Fall 1993): 205-210.
Robert N. Essick, The Separate Plates of William Blake, A Catalogue. The Wordsworth Circle (Fall, 1988): 212-218.
Martin Meisel, Realizations: Narrative, Pictorial, and Theatrical Arts in 19th c. England. Studies in Romanticism 25 (Winter, 1986): 561-567.
Reviews:
Raymond Lister, Samuel Palmer: His Life and Art. Studies in Romanticism 30 (Summer, 1991): 298-305.
Selections from William Blake’s Songs, an album by Gregory Forbes, and Companion to the New Musical Settings (with Margaret LaFrance). Blake/An Illustrated Quarterly 19 (Fall, 1985): 84-89.
Blake’s Designs for Young’s “Night Thoughts.” Ed. Erdman et al. Fine Print (Spring, 1982): 49-50.
Blake’s Designs for Young’s “Night Thoughts.” (with Dennis Welch). Ed. Erdman et al. Philological Quarterly (Fall, 1982): 539-4.
Other Essays:
“En las cuevas del cielo y el infierno: Swedenborg y la impresión en El matrimonio de Blake (1999) [In the Caves of Heaven and Hell: Swedenborg and Printmaking in Blake’s Marriage].” Revolución y literatura en el siglo diecinueve: Fuentes, documentos, textos críticos. Ed. Jerónimo Ledesma and Valeria Castelló-Joubert. Vol. 1: Blake, Büchner. Buenos Aires: Editorial de la Facultad de Filosofía y Letras, Universidad de Buenos Aires, 2012: 229-68. Trans. Mario Rucavado Rojas.
“Wordsworth, Gilpin, and the Vacant Mind,” The Wordsworth Circle, vol. 38, 1-2 (Winter/Spring 2007) 40-49.
“Wordsworth’s Dramatic Antipicturesque: Burke, Gilpin, and “Lines left upon a Seat in a Yew-tree”,” Romantic Circles Scholarly Resource (Summer 2007).
“’Once Only Imagined’: An Interview with Morris Eaves, Robert N. Essick, and Joseph Viscomi on the Past, Present, and Future of Blake Studies.” Conducted by Kari Kraus. Studies in Romanticism41 (Summer 2002): 143-99.