Abstract
2019 was a very active year in Blake studies. In popular discussions, at least, it was dominated by the Tate Britain exhibition, William Blake, curated by Martin Myrone and Amy Concannon. The retrospective boasted over 300 works, making it by far the largest Blake exhibition of the twenty-first century. Its catalogue, which was named one of the twenty-six most beautiful art books of 2019 by the New York Times, articulates the exhibition’s “determinedly historicist and materialist” approach and includes an afterword by Alan Moore, reflecting on Blakean places and his graphic novel From Hell.
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