William Blake: influences, peers and legacy

Every connection with its receipt

William Blake worked as engraver, poet and painter in Georgian London, fusing radical Dissenting theology with a self-invented method of illuminated printing. This mix traces the Miltonic and biblical bedrock beneath his prophecies, the mystics and Neoplatonists who fed his visions, the London radical circles he moved in, and the poets, singers and rockers who later claimed him.

The Kynda mix for William Blake

• Key Influence · Paradise Lost by John Milton (1667). Blake wrestled with Milton for his whole life: he illustrated Paradise Lost in watercolour sets for Thomas Butts and Rev. Joseph Thomas, wrote the epic prophecy 'Milton' in which the poet's spirit enters Blake's foot, and in 'The Marriage of Heaven and Hell' declared that Milton wrote in fetters of Angels but at liberty of Devils, since Satan carries the poem's energy. No text shaped his cosmology more.
• Influencia Obscura · Heaven and Hell by Emanuel Swedenborg (1758). Blake and his wife Catherine signed the attendance roll of the New Jerusalem Church's first General Conference in London in 1789, gathered around Swedenborg's writings. His annotated copies of Swedenborg survive with approving and later scathing marginalia; 'The Marriage of Heaven and Hell' parodies the Swedish seer's 'Memorable Relations' while keeping his doctrine of correspondences and conversing angels.
• Local Roots · A Vindication of the Rights of Woman by Mary Wollstonecraft (1792). Blake earned his bread engraving for the St Paul's Churchyard radical publisher Joseph Johnson, whose circle included Wollstonecraft, Paine, Priestley and Fuseli. Blake engraved the plates for Wollstonecraft's 'Original Stories from Real Life' in 1791, and her arguments about female subjection echo through 'Visions of the Daughters of Albion', written the year after the Vindication appeared.
• Beyond the Medium · The Last Judgment (Sistine Chapel) by Michelangelo (1541). Apprenticed to engraver James Basire and set to draw monuments in Westminster Abbey, Blake formed his taste on Gothic line and on prints after Michelangelo and Raphael, which he preferred to the oil-and-shadow manner of Reynolds. His muscular nudes, his own vast 'Vision of the Last Judgment' description, and his doctrine of the 'bounding line' all descend from engraved Michelangelo.
• Peer · Lyrical Ballads by William Wordsworth and Samuel Taylor Coleridge (1798). Blake read Wordsworth's poems late in life in a copy lent by his patron, annotating them sharply and objecting that Wordsworth's natural piety displaced the imagination. Coleridge, sent 'Songs of Innocence and of Experience' around 1818, ranked its poems and called Blake a man of genius, making 'Lyrical Ballads' the parallel Romantic experiment in plain speech and childhood.
• From the Canon · Songs of Innocence and of Experience by William Blake (1794). The fullest realisation of Blake's relief-etching method, in which he wrote, designed, printed and hand-coloured every copy with Catherine, so that no two copies match. Paired lyrics such as 'The Lamb' and 'The Tyger', 'The Chimney Sweeper' twice over, set childhood vision against institutional cruelty, and made a body of prophetic work approachable enough to keep his name alive after his death.
• Key Collaborator · Jerusalem by Hubert Parry (1916). Parry set the 'And did those feet in ancient time' preface to Blake's 'Milton' at the request of Poet Laureate Robert Bridges for a wartime meeting, and Elgar's orchestration made it a national anthem in all but name. It is the posthumous collaboration that put Blake's words into millions of mouths, from the Last Night of the Proms to football terraces and the Women's Institute.
• Legacy · Howl and Other Poems by Allen Ginsberg (1956). Ginsberg dated his vocation to an auditory vision in a Harlem apartment in 1948 in which he heard Blake's voice reciting 'Ah! Sun-flower' and 'The Sick Rose', a story he retold for decades. He later recorded Blake's Songs set to his own music with Don Cherry and Elvin Jones. 'Howl's prophetic long line, Moloch as an Urizenic god and holy affirmation are Blake filtered through Whitman.

What influenced William Blake

• Emanuel Swedenborg. States Blake was influenced by the thinker Emanuel Swedenborg. (also via Heaven and Hell) “he was also influenced by thinkers such as Emanuel Swedenborg” (Wikipedia)
• Michelangelo (1475). Identifies Michelangelo as an early artistic influence on Blake. (also via The Last Judgment (Sistine Chapel)) “Blake preferred the Classical precision of his early influences Michelangelo and Raphael.” (Wikipedia)
• Albrecht Dürer. Notes Blake's early exposure to Dürer's work shaped his classical forms. (also via Melencolia I) “In these drawings Blake found his first exposure to classical forms through the work of Raphael , Michelangelo , Maarten van Heemskerck and Albrecht Dürer .” (Wikipedia)
• Dante Alighieri (1265). Illustrations to Dante's Divine Comedy (William Blake) — legacy for Dante Alighieri (via Illustrations to Dante's Divine Comedy, Divine Comedy) “The commission for Dante Alighieri's Divine Comedy came to Blake in 1826 through Linnell, with the aim of producing a series of engravings.” (en.wikipedia.org)
• Raphael (1483). Identifies Raphael as an early artistic influence on Blake. “Blake preferred the Classical precision of his early influences Michelangelo and Raphael.” (Wikipedia)
• Paradise Lost by John Milton. Paradise Lost (John Milton) — titan for William Blake “After the Second World War, Blake's role in popular culture came to the fore in a variety of areas such as popular music, film and the graphic novel, leading Edward Larrissy to assert that "Blake is the Romantic writer who has exerted th…” (en.wikipedia.org)
• Canterbury Tales by Geoffrey Chaucer. Notes Blake's critical and artistic engagement with Chaucer's Canterbury Tales. “what Anthony Blunt called a "brilliant analysis" of Chaucer and is regularly anthologised as a classic of Chaucer criticism.” (Wikipedia)
• Maarten van Heemskerck. Notes Blake's early exposure to Heemskerck's work shaped his classical forms. “In these drawings Blake found his first exposure to classical forms through the work of Raphael , Michelangelo , Maarten van Heemskerck and Albrecht Dürer .” (Wikipedia)
• Divine Comedy by Dante Alighieri. Establishes Blake's illustrative engagement with Dante's Divine Comedy. “The commission for Dante Alighieri 's Divine Comedy came to Blake in 1826 through Linnell, with the aim of producing a series of engravings.” (Wikipedia)
• Edmund Spenser. Notes Blake's early poetic work reflects knowledge of Edmund Spenser. “his early work displays knowledge of Ben Jonson , Edmund Spenser and the Psalms .” (Wikipedia)
• Heaven and Hell by Emanuel Swedenborg (1758). Heaven and Hell (Emanuel Swedenborg) — ghost for William Blake “Although later he rejected many of these political beliefs, he maintained an amicable relationship with the political activist Thomas Paine; he was also influenced by thinkers such as Emanuel Swedenborg.” (en.wikipedia.org)
• Ben Jonson. Notes Blake's early poetic work reflects knowledge of Ben Jonson. “his early work displays knowledge of Ben Jonson , Edmund Spenser and the Psalms .” (Wikipedia)
• James Basire. Establishes Blake's apprenticeship training under engraver James Basire. “On 4 August 1772 Blake was apprenticed to the engraver James Basire of Great Queen Street , at the sum of £52.10, for a term of seven years.” (Wikipedia)
• Aurora (Morgenröte im Aufgang) by Jacob Böhme (1612). Aurora (Morgenröte im Aufgang) (Jacob Böhme) — ghost for William Blake “Böhme is also an important influence on the ideas of the English Romantic poet, artist and mystic William Blake.” (en.wikipedia.org)
• Melencolia I by Albrecht Dürer (1514). Melencolia I (Albrecht Dürer) — culture for William Blake “In these drawings Blake found his first exposure to classical forms through the work of Raphael, Michelangelo, Maarten van Heemskerck and Albrecht Dürer.” (en.wikipedia.org)
• The Last Judgment (Sistine Chapel) by Michelangelo (1541). The Last Judgment (Sistine Chapel) (Michelangelo) — culture for William Blake “In these drawings Blake found his first exposure to classical forms through the work of Raphael, Michelangelo, Maarten van Heemskerck and Albrecht Dürer.” (en.wikipedia.org)
• The Mystical Hymns of Orpheus by Thomas Taylor (1787). The Mystical Hymns of Orpheus (Thomas Taylor) — ghost for William Blake
• The Book of Revelation (King James Bible) by John of Patmos. The Book of Revelation (King James Bible) (John of Patmos) — titan for William Blake

Peers and kindred spirits

• Mary Wollstonecraft (1759). Places Blake in the same radical circle as Mary Wollstonecraft through publisher Joseph Johnson. (also via Songs of Innocence and of Experience, Original Stories from Real Life, A Vindication of the Rights of Woman) “the artist John Henry Fuseli ; [ 39 ] the early feminist Mary Wollstonecraft” (Wikipedia)
• Thomas Paine. Notes an amicable relationship between Blake and Thomas Paine. (also via Rights of Man) “he maintained an amicable relationship with the political activist Thomas Paine” (Wikipedia)
• John Linnell. Establishes Blake's introduction to and collaboration with John Linnell. (also via Kensington Gravel Pits) “In 1818 he was introduced by George Cumberland's son to a young artist named John Linnell .” (Wikipedia)
• William Godwin. Places Blake alongside Godwin in shared revolutionary hopes. “classified Blake and his contemporary William Godwin as forerunners of modern anarchism” (Wikipedia)
• John Flaxman. Documents Blake's friendship and shared circle with John Flaxman at the Royal Academy. (also via The Iliad of Homer, engraved outlines) “Blake became a friend of John Flaxman , Thomas Stothard and George Cumberland during his first year at the Royal Academy.” (Wikipedia)
• John Henry Fuseli. Places Blake in the same radical circle as John Henry Fuseli through publisher Joseph Johnson. “the artist John Henry Fuseli ; [ 39 ] the early feminist Mary Wollstonecraft” (Wikipedia)
• Thomas Stothard. Documents Blake's friendship with Thomas Stothard at the Royal Academy. “Blake became a friend of John Flaxman , Thomas Stothard and George Cumberland during his first year at the Royal Academy.” (Wikipedia)
• Rights of Man by Thomas Paine (1791). Rights of Man (Thomas Paine) — peer for William Blake “Although later he rejected many of these political beliefs, he maintained an amicable relationship with the political activist Thomas Paine; he was also influenced by thinkers such as Emanuel Swedenborg.” (en.wikipedia.org)
• William Wordsworth. Places Blake alongside Wordsworth in shared revolutionary hopes. (also via Lyrical Ballads) “Along with William Wordsworth and William Godwin , Blake had great hopes for the French and American revolutions” (Wikipedia)
• The Nightmare by Henry Fuseli (1781). The Nightmare (Henry Fuseli) — geography for William Blake “Johnson's house was a meeting-place for some leading English intellectual dissidents of the time: the theologian and scientist Joseph Priestley; the philosopher Richard Price; the artist John Henry Fuseli; the early feminist Mary Wollsto…” (en.wikipedia.org)
• Joseph Priestley. Places Blake in the same intellectual circle as Joseph Priestley through publisher Joseph Johnson. “the theologian and scientist Joseph Priestley ; the philosopher Richard Price” (Wikipedia)
• James Parker. Documents Blake's business collaboration with James Parker. “Blake and his former fellow apprentice James Parker opened a print shop.” (Wikipedia)
• Joseph Johnson. Documents Blake's working relationship with publisher Joseph Johnson. “They began working with the radical publisher Joseph Johnson and became tangential members of his radical circle.” (Wikipedia)
• George Cumberland. Documents Blake's friendship with George Cumberland at the Royal Academy. “Blake became a friend of John Flaxman , Thomas Stothard and George Cumberland during his first year at the Royal Academy.” (Wikipedia)
• Original Stories from Real Life by Mary Wollstonecraft. Documents Blake's illustration work for Wollstonecraft's book. “Blake illustrated Original Stories from Real Life (2nd edition, 1791) by Wollstonecraft.” (Wikipedia)
• Kensington Gravel Pits by John Linnell (1811). Kensington Gravel Pits (John Linnell) — collaborator for William Blake “In 1818 he was introduced by George Cumberland's son to a young artist named John Linnell.” (en.wikipedia.org)
• A Vindication of the Rights of Woman by Mary Wollstonecraft (1792). A Vindication of the Rights of Woman (Mary Wollstonecraft) — geography for William Blake “Johnson's house was a meeting-place for some leading English intellectual dissidents of the time: the theologian and scientist Joseph Priestley; the philosopher Richard Price; the artist John Henry Fuseli; the early feminist Mary Wollsto…” (en.wikipedia.org)
• Catherine Boucher. Describes Catherine Boucher's close creative collaboration with William Blake. “Catherine became William's "partner in both life and work", undertaking important roles as an engraver and colourist.” (Wikipedia)
• Richard Price. Places Blake in the same intellectual circle as Richard Price through publisher Joseph Johnson. “the theologian and scientist Joseph Priestley ; the philosopher Richard Price” (Wikipedia)
• Jerusalem by Hubert Parry (1916). Jerusalem (Hubert Parry) — collaborator for William Blake “The piece by which he is best known, the setting of William Blake's poem "And did those feet in ancient time" (1916), was immediately taken up by the suffragist movement, with which both Parry and his wife were strongly in sympathy.” (en.wikipedia.org)
• The Iliad of Homer, engraved outlines by John Flaxman (1793). The Iliad of Homer, engraved outlines (John Flaxman) — collaborator for William Blake “Blake became a friend of John Flaxman, Thomas Stothard and George Cumberland during his first year at the Royal Academy.” (en.wikipedia.org)
• Lyrical Ballads by William Wordsworth and Samuel Taylor Coleridge (1798). Lyrical Ballads (William Wordsworth and Samuel Taylor Coleridge) — peer for William Blake

Who William Blake influenced

• Horses by Patti Smith (1975). Horses (Patti Smith) — legacy for William Blake “The Vintage anthology of Blake edited by Patti Smith focuses heavily on the earlier work, as do many critical studies such as William Blake by D.” (en.wikipedia.org)
• Edward Carpenter (1844). States that free-love advocate Edward Carpenter was influenced by Blake's mystical ideas. “Edward Carpenter (1844–1929), was influenced by Blake's mystical emphasis on energy free from external restrictions.” (Wikipedia)
• Howl and Other Poems by Allen Ginsberg (1956). Howl and Other Poems (Allen Ginsberg) — legacy for William Blake “Blake had an enormous influence on the beat poets of the 1950s and the counterculture of the 1960s, frequently being cited by such seminal figures as the beat poet Allen Ginsberg, the songwriters Bob Dylan, Richard Ashcroft, Jim Morrison…” (en.wikipedia.org)
• Ralph Vaughan Williams (1872). States Vaughan Williams's ballet was based on Blake's Job illustrations, a cross-medium influence. (via Illustrations of the Book of Job) “by Vaughan Williams , who based his ballet Job: A Masque for Dancing on a selection of the illustrations.” (Wikipedia)
• The Suburbs. The article reports a critic’s comparison between The Suburbs and Blake’s work. (via Songs of Innocence and of Experience) “A track-by-track review ahead of The Suburbs release by The Quietus website said, "The progression is similar to the one William Blake takes us through in Songs of Innocence and of Experience that suggests forward momentum and maturity."” (Wikipedia)
• Every Grain of Sand. Dylan's song lyrics echo Blake's poem. (via Auguries of Innocence) “The lyrics of " Every Grain of Sand " recall William Blake 's " Auguries of Innocence ".” (Wikipedia)
• Blade Runner by Vangelis. The film draws on William Blake's work as a literary source.