William Blake, 'Plate 2 of 'Urizen': 'Teach these Souls to Fly'' ?1796

William Blake
Plate 2 of 'Urizen': 'Teach these Souls to Fly' ?1796
Colour print finished in ink and watercolour on paper
support: 109 x 102 mm
Purchased 1922

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The Tate Research Centre for British Romantic Art exists to promote research on British art from around 1750 to 1850. Tate’s collection of British art from this period is among the greatest in the world, including major holdings of works by J.M.W. Turner, William Blake and John Constable, and the Oppé collection of works on paper. The Centre encourages research on these traditional strengths while engaging with the full scope of the collection and the wider field of British art and visual culture.

The Centre hosts seminars, public events, work-in-progress seminars, and major conferences. To help realise its programme the Centre also collaborates with museums, universities and scholarly societies.

Convened by Tate curators Dr Greg Sullivan and Amy Concannon, the Centre focuses on the visual arts but seeks to stimulate debate and exchange across a number of disciplines. It welcomes proposals for new projects and events.

Events

  • Tate Britain re-hang scholars morning, May 2013, focusing on the re-display of Tate’s collection of British art of the period c.1770–1850
  • New Perspectives on the Romantic Period, a conference organised and led by Tate’s collaborative PhD students, Tate Britain, 6–7 November 2012
  • Contested Views: Visual Culture and the Revolutionary and Napoleonic Wars, a conference supported by the AHRC and the Courtauld Research Forum, 19–20 July 2012, Tate Britain
  • Contested Views: Scholars’ Morning on Turner’s Field of Waterloo, 19 July 2012, Tate Britain

Related exhibitions

Research projects

PhD students

  • Cora Gilroy-Ware, The Classical Nude in Romantic Britain, collaborative PhD dissertation, supervised by Professor Liz Prettejohn, University of York, and Dr Martin Myrone, Tate.
  • Hayley Flynn, Landscapes in Blake: Visionary Topographies, collaborative PhD dissertation, supervised by Dr Nicholas Alfrey, University of Nottingham and Dr David Blayney Brown, Tate.
  • Marion Martin, Tragic Hope – Sentiment and Critique in the Art of J.M.W. Turner, collaborative PhD dissertation, supervised by Dr Matthew Potter, University of Leicester, and Dr David Blayney Brown, Tate.
  • Thomas Ardill, Between God, Art and Mammon, Religious Painting as Public Spectacle in Britain, c.1800-1850, collaborative PhD dissertation, supervised by Professor David Solkin, Courtauld Institute of Art, and Dr Martin Myrone, Tate.

Contact us

For further information, please contact Dr Greg Sullivan, Curator, British Art 1750–1830
Email greg.sullivan@tate.org.uk