位於倫敦的泰特藝廊（Tate Britain）成立於1897年，由私人藏家Sir Henry Tate（1819―1899）出資設立並捐贈國家，並以16世紀至今的英國藝術為收藏對象，同時極從事相關展示與推廣活動。於此之中可以發現William Blake（1757―1827）受到泰特藝廊諸多關注。從1909年取得兩件Blake的作品開始，泰特透過不同管道持續向各個世代推廣Blake豐富的藝術成就。本論文將藉由分析泰特藝廊的展覽及出版品發展，探討藝術機構如何推廣、形塑藝術家形象並建構歷史地位。

論文的第一章將從William Blake作品的流轉談起，並配合泰特藝廊的發展史，找尋館方收藏Blake作品的契機。第二章則透過泰特1913年至今所舉辦的重要特展，以及館方出版的相關藝術專論，深入分析其中的藝術家形塑及藝術推廣論述為何。第三章則與英、美地區從事Blake作品收藏與展示活動的其他機構比較，釐清推廣及形塑途徑上與泰特的不同之處，進而了解泰特藝廊於William Blake領域的重要性及影響力。

The Tate Britain in London, opened to the public in 1897, was established by private collector Sir Henry Tate (1819-1899), who donated the gallery to the nation at his own expense. Now a day, Tate Britain collecting, exhibiting, and focusing on British art from 16th century to the present day. Among the collections, we can find that Tate pays quite attention to William Blake (1757-1827) and his art works. Since 1909 Tate got the first two Blake’s compositions, the gallery keeps representing and promoting William Blake’s great works for every generation through different channels. This dissertation discusses how an art institution promotes artists and establishes their status of art history by means of the exhibitions and the publications of Tate.

The first chapter traces the background of the William Blake Collection in Tate Britain. Starting from the transformation of William Blake’s art works, and comparing with the development of Tate Gallery. Chapter two analyzes how Tate represents and promotes Blake and his compositions through exhibitions and publications from 1913 to the present day. The last chapter will focus on the institutions which collecting and exhibiting William Blake’s works in not only England but also America. This part contrasts British Museum and The Huntington Institution with Tate Britain to find out the importance and influence of Tate.

展覽及館藏圖錄
Bindman, David, Mind-forg'd Manacles: William Blake and Slavery (London: Hayward Gallery, 2007)

_______, The Shadow of the Guillotine: Britain and the French Revolution (London: Published for the Trustees of the British Museum by British Museum Publications, 1989.)

British Council, Tate Gallery, William Blake 1757-1827 (London: Tate Gallery, 1947).

British Museum, William Blake and His Circle: a Bicentenary Exhibition (London: British Museum, 1957)

Burlington Fine Arts Club, Exhibition of Works of William Blake (London: Printed by Spottiswoode & Co, 1876).

Butlin, Martin, A Catalogue of the Works of William Blake in The Tate Gallery (London: Tate Gallery, distributed by Heinemann, 1957)

_______, William Blake (London: Tate Gallery, 1978)

Carey, Frances, ed., The Apocalypse and the Shape of Things to Come (Toronto; Buffalo: University of Toronto Press, 1999)

Carfax & Co., Exhibition of Works by William Blake, 1757-1827 (London: The Company, 1906)

Essick, Robert N., The Works of William Blake in the Huntington Collections: a Complete Catalogue (San Marino, Calif.: Huntington Library, Art Collections, Botanical Gardens, c1985)

_______, William Blake and His Contemporaries and Followers: Selected Works from the Collection of Robert N. Essick: an Exhibition at the Henry E. Huntington Library and Art Gallery, November 1987 through February 1988 (San Marino, Calif.: Huntington Library and Art Gallery, c1987)

_______, William Blake at the Huntington: an Introduction to the William Blake Collection in the Henry E. Huntington Library and Art Gallery, San Marino, California (New York: H.N. Abrams in association with the Henry E. Huntington Library and Art Gallery, 1994)

Finkel, I.L., Seymour, M.J., ed., Babylon: Myth and Reality (London: British Museum Press, 2008)

Hamlyn, Robin, William Blake (London: Tate Gallery, 2000)

_______, William Blake, Art and Revolution (London: Tate Gallery, 1994).

_______, William Blake, Independence and Innovation (London: Tate Gallery, 1993).

_______, William Blake: the Apprentice Years (London: Tate Gallery, 1992).

Museum of Fine Arts, Boston, Exhibition of Books, Water Colors, Engravings, etc. by William Blake: February 7 to March 15, 1891 (Boston: Printed for the Museum by A. Mudge & Son, 1891).

_______, Exhibition of Drawings, Water Colors, and Engravings by William Blake Arranged in the First Print Room (Boston: Alfred Mudge & Son, printers, 1880)

Pennsylvania Academy of the Fine Arts, Examples of the English Pre-Raphaelite School of Painters, Including Rossetti, Burne-Jones, Madox-Brown and Others, Together with a Collection of the Works of William Blake (Philadelphia: Press of Globe Printing House, 1892)

Rowlands, John, ed., Master Drawing and Watercolours in the British Museum (London: Published for the Trustees of the British Museum by British Museum Publications, c1984).

Russell, Archibald G. B., Catalogue of Loan Exhibition of Works by William Blake (London: printed under the authority of H. M. Stationery Off. By Darling and Son, 1913).

Stainton, Lindsay, British Landscape Watercolours, 1600-1860 (New York: Cambridge University Press, 1985)

Tate Gallery, Descriptive and Historical Catalogue of the Pictures and Sculptures in the National Gallery, British Art (London: Printed for H.M. Stationery Off., and sold at the Gallery, 1904)

_______, National Gallery, Millbank, Illustrations (London: The Trustees, 1923.)

_______, National Gallery, Millbank: Illustrated Guide British School (Glasgow: Robert Maclehose & Co., 1931)

_______, The Tate Gallery Illustrated Catalogue (London: Cassell, 1910).

Thomson, David Croal, The National Gallery of British Art: The Tate Gallery (London: Art Journal, 1897)

西文專書

Balakian, Anna, Surrealism: the Road to the Absolute (Chicago: University of Chicago Press, 1986)

Bentley, G.E. Jr., William Blake in the Desolate Market (Montreal; Kingston: McGill-Queen's University Press, 2014).

Bindman, David, The History of British Art, 1600-1870 (London: Tate Pub., 2008)

Crosby, Mark Christopher, Robert N. Essick, and Robert R. Wark, Genesis: William Blake's Last Illuminated Work (San Marino, Calif.: Huntington Library, Art Collections, and Botanical Gardens, 2012).

Garnett, Richard, William Blake: Painter and Poet (Amsterdam: Fredonia Books, c2004).

Gilchrist, Alexander, Life of William Blake: with Selections from His Poems and Other Writings 2 vols. (New York: Phaeton Press, 1969).

Hackney, Stephen, Rica Jones, and Joyce Townsend, ed., Paint and Purpose: a Study of Technique in British Art (London: Tate Gallery Pub., 1999).

Humphreys, Richard, The Tate Britain Companion to British Art (London: Tate Pub., 2001)

Searing, Helen, Art Spaces: The Architecture of Four Tates (London: Tate Pub., 2002)

Spalding, Frances, The Tate: A History (London: Tate Gallery Publishing, 1998).

Stevens, Bethan, William Blake (London: British Museum Press, 2005).

Sung, Mei-Ying, William Blake and the Art of Engraving (London: Pickering & Chatto, 2009)

Townsend, Joyce H. ed., William Blake: The Painter at Work (Millbank, London; Princeton, N.J.: Princeton University Press, 2003.)

Trodd, Colin. Visions of Blake: William Blake in the Art World 1830-1930 (Liverpool: Liverpool University Press, 2012).

Vaughan, William, William Blake (London: Tate Gallery, 1999).

Wark, Robert, The Revolution in Eighteenth-Century Art: Ten British Pictures, 1740-1840 (San Marino: Huntington Library, 2001)

Wilson, Simon, British Art: From Holbein to the Present Day (London: Tate Gallery; New York: Barron's, 1979)

期刊論文

謝佳娟，〈書評：《英國藝術史1600―1870》〉，《藝術學研究》第四期（2009），頁153―162。

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B. D. N.. “The New National Gallery, London,” The Art Journal (1875-1887), New Series, Vol. 2 (1876): 350-351

Bentley, G. E. Jr.. “Thomas Butts, White Collar Maecenas,” PMLA, vol. 71, No. 5 (Dec., 1956): 1052-1066.

Bindman, David. “William Blake: London and New York”, The Burlington Magazine, Vol. 143, No. 1176 (Mar., 2001): 172-174.

_______. “William Blake – An Exhibition and a Book”, The Burlington Magazine, Vol. 120, No. 903, Special Issue Devoted to the ItalianQuattrocento (Jun., 1978): 418-419+421.

Butlin, Martin. “The Bicentenary of William Blake”, The Burlington Magazine, Vol. 100, No. 659 (Feb., 1958): 40-45.

_______. “The Blake Collection of Mrs. William T. Tonner,” Philadelphia Museum of Art Bulletin, Vol. 67, No. 307 (Jul. - Sep., 1972): 2+5-31.

Carretta, Vincent. “Exhibition Review”, Eighteenth-Century Studies, Vol. 34, No. 3, French Revolutionary Culture (Spring, 2001): 440-445.

Essick, Robert N.. “John Linnell, William Blake, and the Printmaker's Craft,” Huntington Library Quarterly, vol. 46, No. 1 (1983): 18-32.

Griffiths, Antony, “The Department of Prints and Drawings during the First Century of the British Museum”, The Burlington Magazine, Vol. 136, No. 1097 (Aug., 1994): 531-544.

Hamlyn, Robin. “’Blake’s Fate at the Tate”, Blake: An Illustrated Quarterly, Vol. 23, No.4 (Spring 1990): pp. 211-213.

Hoock, Holger. “"Struggling Against a Vulgar Prejudice": Patriotism and the Collecting of British Art at the Turn of the Nineteenth Century,” Journal of British Studies, vol. 49, No. 3 (July. 2010): 566-591.

MacColl, D. S.. “Twenty-One Years of the National Art Collections Fund,” The Burlington Magazine for Connoisseurs, Vol. 44, No. 253 (Apr., 1924): 174-177+179

Paley, Morton D.. “Book Reviews”, Studies in Romanticism, Vol. 41, No. 2, The Once and Future Blake (Summer, 2002): 349-351.

Phillips, Michael. “No. 13 Hercules Buildings, Lambeth: William Blake's Printmaking Workshop and Etching-Painting Studio Recovered”, The British Art Journal, Vol. 5, No. 1 (Spring/Summer 2004): 3-21.

Russell, Archibald G. B.. Croix, Rouge. “The Graham Robertson Collection,” The Burlington Magazine for Connoisseurs, vol. 37, No. 208 (Jul., 1920): 27-29+32-35+39.

Ward, Aileen, “"Sr Joshua and His Gang": William Blake and the Royal Academy,” Huntington Library Quarterly, Vol. 52, No. 1 (Winter, 1989): 75-95.

網路資源

Ashmolean Museum:
http://potweb.ashmolean.org/PotPeop3.html

British Council:
https://www.britishcouncil.org/

British Museum:
http://www.britishmuseum.org/

GOV. UK:
https://www.gov.uk/government/history/past-foreign-secretaries/george-curzon

Harvard Art Museums/Fogg Museum, Bequest of Grenville L. Winthrop
http://www.harvardartmuseums.org/art/230048

History Today:
http://www.historytoday.com/

Lady Lever Art Gallery:
http://www.liverpoolmuseums.org.uk/ladylever/

legislation.gov.uk:
http://www.legislation.gov.uk/ukpga/1954/65/pdfs/ukpga_19540065_en.pdf

National Art Collections Fund:
https://www.artfund.org/about-us/our-history

National Portrait Gallery:
http://www.npg.org.uk/

Oxford Art Online:
http://www.oxfordartonline.com/subscriber/;jsessionid=8BB64016F79246BD86EC793C7AA80458

Oxford Dictionary of National Biography:
http://www.oxforddnb.com/

Royal Academy of Arts Collection:
http://www.racollection.org.uk/ixbin/indexplus?record=VOL3254

SITES Lab:
http://siteslab.org/commons/

Tate Education History:
https://www.timetoast.com/timelines/tate-education-history

Tate Galleries:
http://www.tate.org.uk/

The Fitzwilliam Museum:
http://www.fitzmuseum.cam.ac.uk/

The Henry Crabb Robinson Project:
http://www.crabbrobinson.co.uk/

The Huntington
http://www.huntington.org/

The Metropolitan Museum of Art:
http://www.metmuseum.org/

The National Gallery:
https://www.nationalgallery.org.uk/

The William Blake Archive:
http://www.blakearchive.org/blake/

University College London:
https://www.ucl.ac.uk/

Victoria and Albert Museum:
http://collections.vam.ac.uk/