William Etty

William Etty was a prominent English painter who significantly altered the landscape of British art.

He is most recognized for his historical paintings that featured nude figures. Etty holds the distinction of being the first significant British painter to focus on both nudes and still lifes. While his work often sparked debate, he achieved high professional status. In 1828, he was elected a Royal Academician. This was the highest honor available to an artist at that time.

Etty's artistic development relied on intense, disciplined practice. He spent much of his early training in a plaster-cast shop near Smithfield. There, he practiced drawing from classical sculptures to prepare for the Royal Academy Schools. He later studied under the portrait painter Thomas Lawrence. This arrangement was unique and often difficult. Lawrence provided an attic room where Etty could copy his existing paintings. Although Etty found this method frustrating, it allowed him to master the ability to replicate complex works. This skill later helped him when he studied the works of the Old Masters.

His early life was marked by transition and hard labor. Born in York on March 10, 1787, Etty was the seventh child of Matthew and Esther Etty. His father was a miller and a baker. At age 11, Etty began an apprenticeship as a printer in Hull. This work was physically exhausting and often unpleasant for him. However, the job provided him with access to books, which broadened his education. In 1805, he left his apprenticeship and moved to London. He arrived with very few resources, carrying only some colored chalk crayons.

Etty's career reached a turning point with his historical works. In 1821, he exhibited *Cleopatra's Arrival in Cilicia*. This painting featured numerous nude figures and received great acclaim. The success of this piece encouraged him to create more historical scenes with nudes. In the 1820s, almost all of his Royal Academy exhibitions included at least one nude figure. This focus led to a reputation for indecency among some critics. Despite this condemnation from parts of the press, he remained commercially successful. He even branched out into portraiture in the 1830s to find more lucrative work.

Beyond his paintings, Etty was a man of specific social and religious connections. He was an extremely shy individual who rarely socialized and never married. From 1824 until his death, he lived with his niece, Elizabeth Etty. While he was raised in the Methodist faith, he felt a deep attachment to the Catholic Church. He was one of the few non-Catholics invited to the 1838 opening of the chapel at St Mary's College, Oscott. He also remained deeply connected to his roots in York. He helped establish the city's first art school and campaigned to preserve the historic York city walls.

Etty's technical skill was most evident in his treatment of the human form. He earned great respect for his ability to paint realistic flesh tones. This was a departure from some contemporary traditions that preferred idealized subjects. He was also influenced by the painter John Opie, who emphasized the importance of color. Opie taught that color was the "sunshine of the art." Etty applied these ideas to his work, creating vibrant and lifelike figures. Even as a highly respected artist, he continued to attend life classes to study the human body. Many of his peers considered this practice to be inappropriate.

In his final years, Etty's health and artistic output changed. He was very prolific during the 1840s, though the quality of his work began to decline. He retired to York in 1848 as his health worsened. He died in 1849, shortly after a major retrospective exhibition of his work. Following his death, his paintings became highly collectable and sold for large sums. Although his popularity faded by the end of the 19th century, interest in his work returned in the modern era. Major exhibitions in 2001 and 2011 helped restore his reputation in the art world.