11: WORKS CITED |
Anon. Sculptura-Historica-Technica: or the History and Art of Ingraving [sic]. London: S. Harding, 1747. Bentley, G. E., Jr. Blake Books. Oxford: Clarendon Press, 1977. Bentley. Blake Records. Oxford: Clarendon Press, 1969. Bentley. Blake Records Supplement. Oxford: Clarendon Press, 1988. Blake, William. The Complete Poetry and Prose. Newly Revised Edition, ed. David V. Erdman. New York: Doubleday, 1988. Cited throughout this essay as “E” followed by page number. Burch, R. M. Colour Printing and Colour Printers. London: Pitman, 1910. Butlin, Martin. The Paintings and Drawings of William Blake. 2 vols. New Haven and London: Yale University Press, 1981. Butlin. “The Physicality of William Blake: The Large Color Prints of ‘1795.’” Huntington Library Quarterly 52 (1989): 1-17. Butlin. William Blake. Exhibition catalogue, Tate Gallery. London: Tate Gallery, 1978. Butlin, Martin, and Ted Gott. William Blake in the Collection of the National Gallery of Victoria. Introduction by Irena Zdanowicz. Melbourne: National Gallery of Victoria, 1989. Carretta, Vincent. Review of Phillips and Hamlyn and Phillips. Eighteenth-Century Studies 34 (2001): 440-45. Cohn, Marjorie B. Wash and Gouache: A Study of the Development of the Materials of Water Color. [Cambridge, Mass.] : Center for Conservation and Technical Studies, Fogg Art Museum, 1977. Crozat, Joseph Antoine. Description sommaire des desseins des grands maistres d'Italie, des Pays-Bas et de France, du cabinet de feu M. Crozat. Paris: Mariette, 1741. Dawson, John, ed. The Complete Guide to Prints and Printmaking Techniques and Materials. Oxford: Phaidon Press Limited, 1981. Dörrbecker, D[etlef]. W. Commentary in William Blake, The Continental Prophecies. Blake’s Illuminated Books vol. 4, General Editor David Bindman. London: The William Blake Trust/The Tate Gallery, 1995. [Dossie, Robert]. The Handmaid to the Arts. 2 vols. London: J. Nourse, 1758. Eaves, Morris. William Blake’s Theory of Art. Princeton, N. J.: Princeton University Press, 1982. Essick, Robert N. “Blake and the Production of Meaning.” Blake in the Nineties, ed. Steve Clark and David Worrall. Houndmills and London: Macmillan Press, 1999. Pp. 7-26. Essick. The Separate Plates of William Blake: A Catalogue. Princeton: Princeton University Press, 1983. Essick. William Blake Printmaker. Princeton: Princeton University Press, 1980. Faithorne, William. The Art of Graveing and Etching. 2nd ed. London: A. Roper, 1702. Friedman, Joan M. Color Printing in England 1486-1870. [New Haven]: Yale Center for British Art, 1978. Gascoigne, Bamber. How to Identify Prints. London: Thames and Hudson, 1986. Gautier D’Agoty, Arnaud Eloi. Cours complet d’anatomie. Nancy: J. Le Clerc, 1773. Gautier D’Agoty, Jacques Fabian. Anatomie de la tête, en tableaux imprimés. Paris: Gautier, 1748. Gautier D’Agoty, J. F. Myologie complette en couleur et grandeur naturelle. Paris: Gautier, 1746. Gautier D’Agoty, J. F. Observations sur l’histoire naturelle, sur la physique et sur la peinture. 6 vols. Paris: Delaguette, 1752-55. Gilchrist, Alexander. The Life of William Blake. Ed. W. Graham Robertson. London: John Lane, 1907. Hamlyn, Robin, and Michael Phillips. William Blake. Exhibition catalogue, Tate Britain, London: Tate Publishing, 2000; New York: Harry N. Abrams, 2001 (with a supplement on the Metropolitan Museum version of the exhibition). Hardie, Martin. English Coloured Books. London: Methuen, 1906. Hayter, Stanley William. About Prints. London: Oxford University Press, 1962. Ivins, William M., Jr. Prints and Visual Communication. London: Routledge and Kegan Paul, 1953. Jackson, John Baptist. An Essay on the Invention of Engraving and Printing in Chiaro Oscuro. London: A. Millar et al., 1754. Landseer, John. Lectures on the Art of Engraving. London: Longman, Hurst, Rees, and Orme, 1807. Le Blon, Jacques Christophe. Coloritto; or the Harmony of Colouring in Painting: Reduced to Mechanical Practice, under Easy Precepts, and Infallible Rules; Together with Some Coloured Figures, in order to Render the Said Precepts and Rules Intelligible, not only to Painters, but even to All Lovers of Paintings. London: n.p., 1725. Lilien, Otto M. Jacob Christoph Le Blon, 1667-1741: Inventor of Three- and Four-Colour Printing. Stuttgart: A. Hiersemann, 1985. Lister, Raymond. Infernal Methods: A Study of William Blake’s Art Techniques. London: G. Bell & Sons, 1975. [Macklin, Thomas]. Poetic Description of Choice and Valuable Prints, Published by Mr. Macklin, at the Poets’ Gallery, Fleet Street. London: Printed by T. Bensley, 1794. The New Encyclopaedia Britannica. 15th ed. 30 vols. Chicago: Encyclopaedia Britannica Inc., 1979. Macropaedia vol. 14, “Knowledge in Depth.” Phillips, Michael. William Blake: The Creation of the Songs of Innocence and of Experience from Manuscript to Illuminated Printing. London: The British Library, 2000. Distributed in the US by Princeton University Press. Romano, Clare, and John Ross. The Complete Printmaker. New York: Macmillan Press, 1972. Smith, K. E. Review of Phillips. The Blake Journal No. 6 (2001): 76-78. Stedman, John Gabriel. Narrative, of a Five Years’ Expedition, Against the Revolted Negroes of Surinam. 2 vols. London: J. Johnson and J. Edwards, 1796. Todd, Ruthven. William Blake the Artist. London: Studio Vista, 1971. Updike, John. “Therefore I Print.” New York Review of Books (17 May 2001): 9-12. Viscomi, Joseph. Blake and the Idea of the Book. Princeton: Princeton University Press, 1993. Viscomi. “Recreating Blake’s Illuminated Prints: The Facsimiles of the Manchester Etching Workshop.” Blake/ An Illustrated Quarterly 19 (1985): 4-23. |
0: SUGGESTIONS
FOR READERS FOR OPTIMAL VIEWING 1: INTRODUCTION 2: BACKGROUND & CONTEXT 3: BLAKE'S COLOR PRINTING METHODS 4: THE TWO-PULL THEORY 5: THE ARGUMENTS FOR AND AGAINST TWO-PULL PRINTING 6: WHY "NURSES SONG" WAS PRINTED TWICE 7: OCCAM'S RAZOR 8: POSTSCRIPT: SOME IMPLICATIONS 9: NOTES 10: LIST OF ILLUSTRATIONS 11: WORKS CITED |