William Etty

William Etty 1787-1849, English painter. He studied with Sir Thomas Lawrence and later in Italy, where Venetian painting made a lasting impression on him. Etty is best known for his spirited figure compositions and his large and complex mythological scenes. He achieved fame in 1825 with his Combat (Edinburgh). Characteristic of his work are his three Judith pictures (Edinburgh), The Three Graces (Metropolitan Mus.), and Youth at the Prow and Pleasure at the Helm (Tate Gall., London).

Bibliography: See study by D. Farr (1958).

Etty, William (1787–1849). Painter. Son of a baker, born in York and educated at Pocklington, Etty was apprenticed to a printer, but moved to London in 1806 and worked under the guidance of Lawrence. His first success was Cleopatra's Arrival, a crowded canvas (1821). He was elected ARA in 1824 and full Academician in 1828, defeating constable by 18 votes to 5. The large classical and historical themes on which he concentrated are not greatly to modern taste, but his nudes have always won admiration, and many of his portraits are outstanding, particularly John Brook (York City Art Gallery) and the Hon. Caroline Norton (private collection). Much of his work is in the Victoria and Albert Museum, London, and there is a special collection at York, with a somewhat insignificant statue of the artist (by J. W. Milburn, 1910–11) outside the gallery. Etty left a good (and romanticized) self-portrait, and an autobiography.

J. A. Cannon

Etty, William (1787–1849). English painter, one of the few British artists to specialize almost exclusively in the nude. He was born and died in York, but was active mainly in London, where he trained at the Royal Academy Schools and then (1807–8) with Lawrence, who had a great influence on him; this was later modified by the impact of Venetian art, which he admired on a lengthy tour of France and Italy in 1822–4. Etty's paintings are often of mythological or historical subjects, sometimes on an ambitious scale, but he also made life studies in the RA Schools throughout his career, and these are now probably his most admired works. He was often attacked for the alleged indecency of his work, The Times considering it ‘entirely too luscious for the public eye’. However, by the time of his death he was wealthy and respected. He summed up his attitude to his favourite subject thus: ‘Finding God's most glorious work to be Woman, that all human beauty had been concentrated in her, I dedicated myself to painting—not the Draper's or Milliner's work—but God's most glorious work, more finely than ever had been done.’ His draughtsmanship is often criticized, but it is generally agreed that he attained a glowing voluptuousness in the painting of flesh that few British artists have approached. The best collection of Etty's work is in York Art Gallery.