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{{Short description|English painter (1787–1849)}}
{{About|the painter|the architect|William Etty (architect)}}
{{featured article}}
{{Use British English|date=June 2025}}
{{Use dmy dates|date=June 2025}}
{{Infobox artist
| honorific_prefix =
| name             = William Etty
| honorific_suffix = {{Post-nominals|country=GBR|size=100%|RA}} 
| image            = William Etty self-portrait.jpg
| alt              = Man holding paintbrush
| caption          = 1845–1849 self-portrait based on an October 1844 photograph by [[Hill & Adamson]]
| birth_date       = {{Birth date|1787|03|10|df=y}}
| birth_place      = [[York]], England
| death_date       = {{Death date and age|1849|11|13|1787|03|10|df=y}}
| death_place      = York, England
| resting_place    = [[St Olave's Church, York]], England
| resting_place_coordinates = <!-- {{Coord|LAT|LONG|type:landmark|display=inline}} -->
| education        = [[Thomas Lawrence]]
| alma_mater       = [[Royal Academy Schools]]
| known_for        = Painting
| style            = [[English school of painting]]
| awards           = <!-- {{awd|award|year|title|role|name}} (optional) -->
| elected          = [[Royal Academician]]
| notable_works    = {{unbulleted list | ''[[The Triumph of Cleopatra]]'' (1821) | ''[[The Combat: Woman Pleading for the Vanquished]]'' (1825) | ''[[Youth on the Prow, and Pleasure at the Helm]]'' (1832) | ''[[The Sirens and Ulysses]]'' (1837) | ''[[Musidora: The Bather 'At the Doubtful Breeze Alarmed']]'' (1843)}}
| module           =
}}

'''William Etty''' {{Post-nominals|country=GBR|RA}} (10 March 1787&nbsp;– 13&nbsp;November 1849) was an English artist best known for his [[history painting|historical painting]]s containing [[nude (art)|nude]] figures. He was the first significant British painter of nudes and [[still life]]s. Born in [[York]], he left school at the age of 12 to become an [[apprenticeship|apprentice]] printer in [[Kingston upon Hull|Hull]]. He completed his apprenticeship seven years later and moved to London, where in 1807 he joined the [[Royal Academy Schools]]. There he studied under [[Thomas Lawrence]] and trained by copying works by other artists. Etty earned respect at the [[Royal Academy of Arts]] for his ability to paint realistic flesh tones, but had little commercial or critical success in his first few years in London.

Etty's ''[[Cleopatra's Arrival in Cilicia]]'', painted in 1821, featured numerous nudes and was exhibited to great acclaim. Its success prompted several further depictions of historical scenes with nudes. All but one of the works he exhibited at the Royal Academy in the 1820s contained at least one nude figure, and he acquired a reputation for indecency. Despite this, he was commercially successful and critically acclaimed, and in 1828 was elected a Royal Academician, at the time the highest honour available to an artist. Although he was one of the most respected artists in the country he continued to study at [[life class]]es throughout his life, a practice considered inappropriate by his fellow artists. In the 1830s Etty began to branch out into the more lucrative but less respected field of [[portraiture]], and later became the first English painter to paint significant still lifes.<!--Mary Moser (1744–1819)?--> He continued to paint both male and female nudes, which caused severe criticism and condemnation from some elements of the press.

An extremely shy man, Etty rarely socialised and never married. From 1824 until his death he lived with his niece Betsy (Elizabeth Etty). Even in London he retained a keen interest in his native York, and was instrumental in the establishment of the town's first art school and the campaign to preserve [[York city walls]]. While he never formally converted from his [[Methodism|Methodist]] faith, he was deeply attached to the [[Catholic Church]] and was one of the few non-Catholics to attend the 1838 opening of [[Augustus Pugin]]'s chapel for [[St Mary's College, Oscott]], at that time England's most important Catholic building.

Etty was prolific and commercially successful throughout the 1840s, but the quality of his work deteriorated throughout this period. As his health progressively worsened he retired to York in 1848. He died in 1849, shortly after a major [[retrospective exhibition]].<!--where? at the Royal Society of Arts, this is spelled out in the body text but I don't think it's necessary in the lead--> In the immediate aftermath of his death his works became highly collectable and sold for large sums. Changing tastes meant his work later fell out of fashion, and imitators soon abandoned his style. By the end of the 19th century the value of all of his works had fallen below their original prices, and outside his native York he remained little known throughout the 20th century. Etty's inclusion in [[Tate Britain]]'s landmark ''Exposed: The Victorian Nude'' exhibition in 2001–02, the high-profile restoration of his ''[[The Sirens and Ulysses]]'' in 2010 and a major retrospective of his work at the [[York Art Gallery]] in 2011–12 led to renewed interest in his work.

==Background==
[[File:SirWatkinWilliamsWynnAndMother.jpg|left|thumb|upright=1.2|[[Sir Watkin Williams-Wynn, 4th Baronet|Sir Watkin Williams-Wynn]] and his mother Frances Shack{{shy}}erley, [[Joshua Reynolds]], {{circa|&nbsp;1768–69}}. By the early 19th century Reynolds's style dominated British art.|alt=Well-dressed man and an elderly woman]]
In the late 18th and early 19th centuries, British painting was strongly influenced by [[Joshua Reynolds]] (1723–1792), the first president of the [[Royal Academy of Arts]] (RA). Reynolds believed the purpose of art was "to conceive and represent their subjects in a poetical manner, not confined to mere matter of fact", and that artists should emulate [[Renaissance]] painters such as [[Rubens]], [[Paolo Veronese]] and [[Raphael]] and make their subjects close to perfection.{{sfn|Warner|1996|p=20}} After Reynolds's death his ''Discourses on Art'', which extolled the notion of an artist's duty to paint idealised subjects, remained Britain's primary theoretical work on art.{{sfn|Warner|1996|p=20}} The Royal Academy dominated British art, with the annual [[Royal Academy Summer Exhibition]] the most important event in the calendar.{{sfn|Warner|1996|p=44}} The Royal Academy also controlled the prestigious Royal Academy art schools, which had an effective monopoly on the training of new artists and which taught with a very narrow focus on approved techniques.{{sfn|Warner|1996|p=44}}{{sfn|Myrone|2011|p=49}} While painters such as [[J. M. W. Turner]] (a strong supporter of the Royal Academy) were beginning to move away from the influence of the [[Old Masters]] to create uniquely British styles, they adhered to principles established by Reynolds.{{sfn|Warner|1996|p=21}}

In the opinions then current at the Royal Academy and among critics, the most prestigious form of painting was considered [[history painting]], in which an artwork illustrated a story. It was thought that such works enabled British artists to show themselves as equal or even superior to those European artists active at the time, as well as to the Old Masters.{{sfn|Burnage|2011e|p=236}} Other forms of painting such as portraiture and landscapes were considered lesser styles, as they did not give the artist as much opportunity to illustrate a story but instead were simply depictions of reality.{{sfn|Burnage|2011e|p=228}} Nonetheless, even the most eminent artists would often devote time to portrait painting, as portraits were generally commissioned by the subjects or their families, providing a guaranteed source of income to the artist;{{sfn|Burnage|2011e|p=237}} two of the first three presidents of the Royal Academy (Joshua Reynolds and [[Thomas Lawrence|Sir Thomas Lawrence]]) had made their names as portrait painters.{{sfn|Burnage|2011e|p=236}}{{efn-ua|Excluding architect [[James Wyatt]], who was briefly elected to replace [[Benjamin West]] in 1805 but whose election was never formally approved, and who resigned in favour of West in 1806.<ref>{{cite book|last=Sandby|first=William|title=The History of the Royal Academy of Arts from its Foundation in 1768 to the Present Time|volume=II|year=1862|publisher=Longman, Green, Longman, Roberts & Green|location=London|page=402}}</ref>}} Owing to a lack of patrons willing to commission history paintings, by the early 19th century history painting in England was in serious decline.{{sfn|Burnage|2011b|p=107}}

==Childhood and apprenticeship (1787–1805)==
{{Quote box|width=26em|align=right|salign=right|quote=I counted the years, days, weeks, and hours, till liberty should break my chains and set my struggling spirit ''free!'' That hour, that ''golden'' hour of 12, on the 23rd of October, 1805, I watched on the dial-plate of Hull High Church, and felt such a throb of delight as for seven long years I had been a stranger to! I was now ''entirely'' emancipated from servitude and slavery; I was flapping my young wings in the triumphant feeling of ''liberty!'' Not the liberty of licentiousness and jacobinism, but natural rational ''freedom of body, mind and will'', to which for seven long years I had been an entire stranger! [...] Seven long years I patiently bided my time, but ''the iron went into my soul''.|source=William Etty on the 1805 completion of his apprenticeship, in his ''Autobiography'' written November 1848<ref name="Autobiography">{{cite journal|last=Etty|first=William|date=1 February 1849|title=Autobiography in Letters Addressed to a Relative|journal=The Art Journal|publisher=George Virtue|location=London|volume=1|pages=37–40}}</ref>}}
William Etty was born in [[Feasegate]], York, on 10 March 1787, the seventh child of Matthew and Esther Etty, née Calverley.{{sfn|Farr|1958|p=2}} Although Matthew Etty was a successful miller and baker,{{efn-ua|Matthew Etty was particularly noted in York for the quality of his [[gingerbread]].{{sfn|Farr|1958|p=2}}}} he bore a large family and was never financially secure.{{sfn|Farr|1958|p=2}} Esther Calverley's brother unexpectedly inherited the title of [[Squire]] of [[Hayton, East Riding of Yorkshire|Hayton]] in 1745, nine years before Esther's birth,{{sfn|Farr|1958|p=2}} but disowned her following her marriage to Matthew, whom he considered as beneath her station.{{sfn|Farr|1958|p=3}} The family were strict [[Methodism|Methodists]] and William was raised as such, although he disliked the spartan appearance of the Methodist chapel and liked to attend his [[Church of England|Anglican]] parish church or [[York Minster]] when able.{{sfn|Farr|1958|p=5}}

He showed artistic promise from an early age, drawing in chalk on the wooden floor of his father's shop.{{sfn|Farr|1958|p=4}} From the age of four he attended local schools in York, before being sent at the age of 10 to Mr. Hall's Academy, a [[boarding school]] in nearby [[Pocklington]],<!-- This is not [[Pocklington School]], don't link it --> which he left two years later.{{sfn|Burnage|Bertram|2011|p=20}} On 8 October 1798, at the age of 11, William was apprenticed as a printer to Robert Peck of [[Kingston upon Hull|Hull]], publisher of the ''Hull Packet''.{{sfn|Farr|1958|p=5}}{{efn-ua|Robert Peck had recently married the daughter of one of the Ettys' neighbours.{{sfn|Farr|1958|p=5}}}} While Etty found the work exhausting and unpleasant, he continued to draw in his spare time, and his job gave him the opportunity to broaden his education by reading books.{{sfn|Farr|1958|p=5}} It seems likely that it was working as a printer that led him to realise for the first time that it was possible for someone to make a living drawing and painting.{{sfn|Myrone|2011|p=51}}

On 23 October 1805, Etty's seven-year [[indenture]] with Peck expired, an event greeted with great happiness as he intensely disliked the job.{{sfn|Farr|1958|p=6}} He remained in Hull for a further three weeks as a [[journeyman]] printer.<ref name="Autobiography" /> He moved to London "with a few pieces of chalk-crayons in colours",{{sfn|Gilchrist|1855a|p=31}} to stay with his older brother Walter in [[Lombard Street, London|Lombard Street]].{{sfn|Burnage|Bertram|2011|p=20}} Walter worked for the successful [[metal lace|gold lace]] manufacturer Bodley, Etty and Bodley, with whom their father's brother, also named William, was partner.{{sfn|Farr|1958|p=6}} He arrived in London on 23 November 1805,{{sfn|Farr|1958|p=7}} with the intention of gaining admission to the [[Royal Academy Schools]].{{sfn|Farr|1958|p=8}}

==Training (1806–1821)==
[[File:Sketches of the Elgin Marbles by William Etty YORAG 2005 493 2.jpg|left|thumb|Sketches from the [[Elgin Marbles]] by William Etty. Aspiring students were expected to draw from classical sculptures as part of the admission process.|alt=Pencil sketch of warriors on horseback]]
Applicants to the Royal Academy Schools were expected to pass stringent ability tests, and on his arrival in London Etty set about practising,{{sfn|Farr|1958|p=8}} drawing "from prints and from nature".<ref name="Autobiography" /> Aware that all successful applicants were expected to produce high quality drawings of [[classical sculpture]]s, he spent much time "in a plaster-cast shop, kept by Gianelli, in that lane near to Smithfield, immortalised by Dr. Johnson's visit to see 'The Ghost' there",{{efn-ua|The "lane near to Smithfield, immortalised by Dr. Johnson's visit to see 'The Ghost' there" was [[Cock Lane]], near the northern edge of the [[City of London]]; the [[Cock Lane ghost]] was a notorious hoax of 1762, which was investigated by a committee including [[Samuel Johnson]]. J.&nbsp;B. Gianelli of 33 Cock Lane is listed as a [[Plaster of Paris]] manufacturer in contemporary directories.{{sfn|Farr|1958|p=8}}}} which he described as "My ''first'' academy".<ref name="Autobiography" />

Etty obtained a [[letter of introduction]] from Member of Parliament [[Richard Sharp (politician)|Richard Sharp]] to painter [[John Opie]].<ref name="Autobiography" /> He visited Opie with this letter, and showed him a drawing he had done from a cast of ''[[Cupid and Psyche (Capitoline Museums)|Cupid and Psyche]]''.{{sfn|Farr|1958|p=9}} Impressed, Opie recommended Etty to [[Henry Fuseli]], who accepted him into the Royal Academy Schools as a probationer. Having satisfactorily completed drawings from casts of ''[[Laocoön and His Sons|Laocoön]]'' and "the Torso of Michelangelo",{{efn-ua|It is uncertain to what "the Torso of Michelangelo" refers. Dennis Farr's 1958 biography of Etty speculates that it was the [[Belvedere Torso]], which served as the model for some of Michelangelo's figures in the [[Sistine Chapel]].{{sfn|Farr|1958|p=9}}}} Etty was accepted as a full student on 15&nbsp;January 1807.{{sfn|Myrone|2011|p=47}}

[[File:Etty – The Missionary Boy.jpeg|right|upright|thumb|''The Missionary Boy'' (1805–06) is thought to be Etty's oldest significant surviving painting.{{sfn|Farr|1958|p=8}}{{efn-ua|The attribution of ''The Missionary Boy'' to Etty is unconfirmed, and it was possibly painted c.&nbsp;1820 by Etty's then assistant George Franklin.{{sfn|Farr|1958|p=9}} A damaged inscription on the back reads "I well remember [...] missionary boy at Hull painted York by W. Etty R.A.".{{sfn|Farr|1958|p=9}} No record of a dark-skinned child preacher appears in contemporary newspaper reports, and the picture possibly depicts a child convert educated by missionaries.{{sfn|Farr|1958|pp=8–9}} The painting is signed "W. Etty" in the lower left corner, but the signature may not be authentic; no other Etty painting is signed on the front.{{sfn|Farr|1958|p=9}}}}|alt=Dark-skinned child in colourful clothing]]
Shortly after Etty joined the RA, four major lectures on painting were delivered by John Opie in February and March 1807. In them, Opie said that painting "brings into view the heroes, sages, and beauties of the earliest periods, the inhabitants of the most distant regions, and fixes and perpetuates the forms of the present day; it presents to us the heroic deeds, the remarkable events, and the interesting examples of piety, patriotism and humanity of all ages; and according to the nature of the action depicted, fills us with innocent pleasure, excites our abhorrence of crimes, moves us to piety, or inspires us with elevated sentiments".{{sfn|Farr|1958|p=10}} Opie rejected Reynolds's tradition of idealising the subjects of paintings, observing that he did not believe "that the flesh of heroes is less like flesh than that of other men".{{sfn|Farr|1958|p=12}} Opie advised his students to pay great attention to [[Titian]], whose use of colour he considered unsurpassed, advising students that "colouring is the sunshine of the art, that clothes poverty in smiles [...] and doubles the charms of beauty.{{sfn|Farr|1958|p=13}} Opie's opinions made a deep impression on the young Etty, and he would hold these views throughout his career.{{sfn|Farr|1958|p=11}}

===Thomas Lawrence===
{{multiple image|caption_align=center|header_align=center | align = left | direction= horizontal | total_width= 330 | image1= Lady Mary Templetown and Her Eldest Son.jpg | width1 = 827 | height1 = 1200| alt1 = Woman in a white bonnet and a small child | caption1= ''Lady Mary Templetown<!-- This is not a typo, Lawrence's painting has a W in the title and Etty's doesn't --> and Her Eldest Son'', Thomas Lawrence, 1802 | image2= Etty – Mary, Lady Templeton.jpg | width2 = 926 | height2 = 1106| alt2= Young woman in a white bonnet | caption2= ''Mary, Lady Templeton''{{sic}}'', after Thomas Lawrence'', William Etty, 1807–08 | footer_align= left | footer= By the time Etty painted ''Mary, Lady Templeton'' the original would no longer have been in Lawrence's possession; he almost certainly copied from one of Lawrence's preliminary sketches.}}
By this time, Etty had developed a great admiration for the portrait painter [[Thomas Lawrence]]<!-- I know he's linked previously, but this is the point where people are likely to want to find out more about him -->, and hoped to learn from him. Having arranged an introduction via Henry Fuseli, Etty's uncle William met with Lawrence and paid him 100&nbsp;[[Guinea (British coin)|guineas]] (about £{{formatnum:{{Inflation|UK|105|1807|r=-2}}|0}} in {{inflation/year|UK}} terms{{Inflation-fn|UK|df=y}}) in return for his accepting the younger William as a private pupil for a year.{{sfn|Farr|1958|p=14}}

Under this arrangement Etty did not receive formal tuition from Lawrence. Instead, Lawrence set aside a room in his attic for Etty to copy from his pictures, and agreed to answer questions when he was in a position to do so.{{sfn|Farr|1958|p=14}} Etty found the experience of copying Lawrence's work extremely frustrating, and in his own words "was ready to run away", but he persisted and eventually taught himself to copy Lawrence's work very closely.{{sfn|Farr|1958|p=15}} Although Etty found his year with Lawrence a frustrating experience, his development of the ability to copy other works served him in good stead in future when he came to copy elements from the Old Masters.{{sfn|Farr|1958|p=15}}

Once he had completed his year with Lawrence, Etty returned to the Royal Academy, drawing at the [[life class]] and copying other paintings, as well as undertaking commissions and doing occasional work for Lawrence to earn money.{{sfn|Farr|1958|p=15}}{{sfn|Green|2011|p=61}} He was unsuccessful in all the Academy's competitions, and every painting he submitted for the Summer Exhibition was rejected.{{sfn|Farr|1958|p=15}}

In 1809 Etty's uncle William, with whom he had been staying, died.{{sfn|Farr|1958|p=15}} He was forced into an inconvenient transient lifestyle, moving from lodging to lodging.{{sfn|Farr|1958|p=15}} Etty had been left a significant sum in his uncle's will, and his brother Walter now took over their uncle's position at Bodley, Etty and Bodley, giving Walter the means to support the younger William's work financially.{{sfn|Farr|1958|p=16}} In 1811 Etty's persistence paid off. Two of his paintings were accepted for the ''Telemachus Rescues Antiope from the Fury of the Wild Boar'' exhibition at the Royal Academy Summer Exhibition, and ''Sappho'' at the [[British Institution]].{{sfn|Burnage|Bertram|2011|p=21}} The latter sold for the respectable sum of 25 guineas (about £{{formatnum:{{Inflation|UK|25|1811|r=-2}}|0}} in {{inflation/year|UK}} terms{{Inflation-fn|UK|df=y}}).{{sfn|Farr|1958|p=17}}{{efn-ua|As is the case with almost all Etty's paintings prior to 1819 other than private portraits painted for friends and family—and with every painting exhibited by Etty at the Royal Academy between 1811 and 1818—neither ''Sappho'' nor ''Telemachus Rescues Antiope'' has survived.{{sfn|Farr|1958|p=17}}}} Although from now on Etty had at least one work accepted for the Summer Exhibition each year,{{sfn|Burnage|Bertram|2011|p=21}} he had little commercial success and generated little interest over the next few years.{{sfn|Farr|1958|p=19}} By 1814, Etty was becoming widely respected at the RA for his use of colour and in particular his ability to produce realistic flesh tones.{{sfn|Farr|1958|p=32}}

===France and Italy===
[[File:Etty – Male Nude with Staff.jpeg|right|thumb|upright|''Male Nude with Staff'' (1814–16). Although a commercial failure in the 1810s, Etty was greatly respected at the RA for his ability to paint realistic flesh tones.|alt=Nude man holding a long pole]]
At the time, there were no public art galleries in England with permanent collections.{{sfn|Green|2011|pp=64–65}}{{efn-ua|England's first art gallery was the [[Dulwich Picture Gallery]], opened to the public in 1817. Royal Academy students were permitted to visit the collection from 1815 onwards.{{sfn|Green|2011|p=65}} Dulwich had no significant works of the Venetian school which Etty so admired.{{sfn|Green|2011|p=66}}}} In 1816, in the face of his continued lack of success, Etty decided to spend a year in Italy to study the artworks held in the great Italian collections.{{sfn|Farr|1958|p=22}} He had made a brief visit to France in early 1815, but other than this had never been abroad.{{sfn|Farr|1958|p=20}}{{efn-ua|Little is known of Etty's 1815 visit to France, other than that he arrived in [[Calais]] on 3&nbsp;January 1815. Tourist travel to Continental Europe had become practical for British citizens for the first time in over a decade following Napoleon's surrender on 1&nbsp;May 1814; Paris at this time was Europe's main artistic centre as the artworks looted by Napoleon's armies had yet to be returned. The war resumed following Napoleon's escape from [[Elba]] on 1&nbsp;March 1815, and if Etty had not returned before then he would have left for England as soon as he heard the news.{{sfn|Farr|1958|p=20}}}} The 28-year-old Etty had fallen in love,{{efn-ua|The woman's name is not recorded. Etty had difficulties forming relationships with women throughout his life.{{sfn|Farr|1958|p=22}}}} and fretted about the difficulties a potential marriage would cause, and whether it would be right to travel to further his career even though it would mean taking his new wife to a foreign country.{{sfn|Farr|1958|p=22}} In the event, the woman rejected him, and he set out for the Continent in early September 1816.{{sfn|Farr|1958|p=22}}

Etty landed in [[Dieppe]], and made his way to Paris via [[Rouen]]. Although he admitted to finding France a beautiful country, he was unhappy throughout his stay there, suffering from severe homesickness; shortly after his arrival in Paris he wrote to his cousin Martha Bodley that "I hope I shall like Italy better than Paris, or I think I shall not feel resolution to stop a year. If I don't, I shall content myself with seeing what I think worth while; and then return."{{sfn|Farr|1958|p=23}} He travelled onwards via [[Geneva]], but found Switzerland frustrating; although he had brought his own tea-making equipment with him, in the remoter mountain villages he found it difficult to obtain milk for his tea.{{sfn|Farr|1958|p=23}} Travelling through the [[Simplon Pass]] to [[Piedmont]] revived his spirits somewhat; he found the variety of colour in the landscapes of northern Italy fascinating, and in late September arrived in [[Florence]].{{sfn|Farr|1958|p=23}}

[[File:Etty – Mary Arabella Jay.jpg|left|thumb|upright|''Miss Mary Arabella Jay'' (1819), one of the earliest paintings exhibited by Etty at the Summer Exhibition to survive. Etty's style at this time was still heavily influenced by Lawrence.|alt=Woman carrying a basket of flowers]]
Despite the grandeur of Florence, Etty was severely depressed, writing to his brother on 5&nbsp;October that "I feel so lonely, it is impossible for me to be happy" and complaining of "the vermin in the bed, the dirt and the filth" which he considered "such as no Englishman can have any idea of, who has not witnessed it".{{sfn|Farr|1958|p=23}} His emotional state made it impossible for him to study, and within a month of his arrival in Italy, he began the journey back to England, stopping in Paris on 26&nbsp;October 1816.{{sfn|Farr|1958|p=23}} There he enrolled in the [[atelier]] of [[Jean-Baptiste Regnault]] but found the atmosphere rowdy and the studio too full of Frenchmen, and he left after a week.{{sfn|Farr|1958|p=24}} While in Paris he also attended the [[Académie des Beaux-Arts]], and amassed a large quantity of [[Old master print|prints]] from the art shops of Paris.{{sfn|Farr|1958|p=24}} Still homesick, Etty left Paris, returning to London in November.{{sfn|Farr|1958|p=24}}

Notwithstanding his unhappiness, Etty appears to have developed as a painter during his travels. For the first time, his two paintings exhibited at the 1817 Summer Exhibition (''Bacchanalians: a Sketch'' and ''Cupid and Euphrosyne'') attracted a favourable review in the press, in this case from [[William Paulet Carey]] writing in the ''[[Literary Gazette]]'' who considered ''Bacchanalians'' "a fine classical invention" and ''Cupid'' as showing "splendid promise".{{sfn|Farr|1958|p=25}} Carey was later to take great pride in being the first critic to recognise Etty's potential, and continued to champion him throughout his career.{{sfn|Farr|1958|p=25}} In 1818 Etty entered a copy of [[Damiano Mazza (artist)|Damiano Mazza]]'s ''The Rape of Ganymede''—at the time thought to be by Titian—in one of the Royal Academy's painting competitions. Easily the most accomplished entry in the competition, Etty was due to win until two of the other contestants complained that he had technically breached RA rules by briefly removing the painting from Academy premises to work on it at home;{{sfn|Myrone|2011|p=53}} they further complained that Etty was technically a professional artist and thus ineligible for the contest despite his still being a student.{{sfn|Farr|1958|p=27}} Etty was disqualified from the competition, but the high quality of his work further raised his prestige within the Academy.{{sfn|Farr|1958|p=27}} Although his income was still low and he was surviving on gifts from his brother, at some point by 1818 Etty hired an assistant, George Henry Franklin.{{sfn|Farr|1958|p=31}}{{efn-ua|Very little is documented about Franklin other than passing mentions in Etty's correspondence. He is known to have been a painter in his own right, albeit an unsuccessful one, who exhibited at least one painting at the Royal Academy.{{sfn|Farr|1958|p=32}} Etty is only known to have had one formal pupil, [[James Mathews Leigh]] in 1828–29.{{sfn|Farr|1958|p=54}}}}

====''The Coral Finder''====
[[File:William Etty -The Coral Finder Venus and her Youthful Satellites.jpg|right|thumb|''The Coral Finder'' (1820)|alt=Naked woman on a boat, surrounded by naked children]]
At the 1820 Summer Exhibition, Etty exhibited two paintings: ''Drunken Barnaby'' and ''The Coral Finder: Venus and her Youthful Satellites Arriving at the Isle of Paphos''.{{sfn|Burnage|Bertram|2011|p=22}} ''Drunken Barnaby'' is a scene of a drunken man being carried away from an inn while a barmaid looks on; the barmaid is shown as sturdily built, plump and rosy-cheeked, a style in which Etty continued to paint women throughout his career.{{sfn|Farr|1958|p=28}} ''The Coral Finder'' is strongly inspired by Titian, and depicts [[Venus Victrix]] lying nude in a golden boat, surrounded by scantily clad attendants. It was Etty's first use of the combination of nude figures and mythological or literary references for which he was to become famous.{{sfn|Farr|1958|p=29}}

''The Coral Finder'' was sold at exhibition to piano manufacturer Thomas Tomkinson<!-- Don't link unless someone writes an article on him, this isn't the famous Thomas Tomkinson --> for £30 (about £{{formatnum:{{Inflation|UK|30|1820|r=-2}}|0}} in {{inflation/year|UK}} terms{{Inflation-fn|UK|df=y}}).{{sfn|Farr|1958|p=142}} [[Francis Freeling|Sir Francis Freeling]] had admired ''The Coral Finder'' at its exhibition, and on learning that it had already been sold he commissioned Etty to paint a similar picture on a more ambitious scale, for a fee of 200&nbsp;guineas (about £{{formatnum:{{Inflation|UK|210|1820|r=-2}}|0}} in {{inflation/year|UK}} terms{{Inflation-fn|UK|df=y}}).{{sfn|Farr|1958|p=141}} Etty had for some time been musing on the possibility of a painting of [[Cleopatra]], and took the opportunity provided by Freeling to paint a picture of her based loosely on the composition of ''The Coral Finder''.{{sfn|Farr|1958|p=29}}

==Recognition and travels (1821–1823)==
[[File:Etty Cleopatra.jpg|left|thumb|''[[Cleopatra's Arrival in Cilicia]]'' (1821)|alt=Boat crammed full of naked people]]
''[[Cleopatra's Arrival in Cilicia]]'' (also known as ''The Triumph of Cleopatra'') is based loosely on [[Plutarch]]'s ''Life of Antony'' and Shakespeare's ''[[Antony and Cleopatra]]'', in which the Queen of Egypt travels to [[Tarsus, Mersin|Tarsus]] in [[Cilicia]] aboard a grand ship to cement an alliance with the Roman general [[Mark Antony]].{{sfn|Farr|1958|p=29}} While superficially similar to ''The Coral Finder'', ''Cleopatra'' is more closely related to the style of Regnault, with its intentionally cramped and crowded composition.{{sfn|Farr|1958|p=30}} The individual figures are out of proportion to each other and the ship, while many figures are tightly positioned within a small section of the painting.{{sfn|Farr|1958|p=30}} As well as from Regnault, the work borrows elements from Titian, Rubens and classical sculpture.{{sfn|Farr|1958|p=30}}

When exhibited in 1821, ''Cleopatra'' was generally extremely well received, and considered among the finest paintings of its kind,{{sfn|Farr|1958|p=30}} and its success inspired Etty to paint more works in a similar vein.{{sfn|Burnage|2011d|p=31}} The exhibition of ''Cleopatra'', coupled with the exhibition in January 1822 of ''A Sketch from One of Gray's Odes (Youth on the Prow)'' which also depicted nude figures on a boat,{{efn-ua|''A Sketch from One of Gray's Odes (Youth on the Prow)'' was an early sketch on a theme which a decade later provided one of Etty's most significant paintings, 1832's ''[[Youth on the Prow, and Pleasure at the Helm]]''.{{sfn|Farr|1958|p=31}}}} drew criticism of Etty for his treatment of female nudes.{{sfn|Farr|1958|p=31}} ''[[The Times]]'' in early 1822 chided Etty, remarking that "We take this opportunity of advising Mr. Etty, who got some reputation for painting "Cleopatra's Galley", not to be seduced into a style which can gratify only the most vicious taste. Naked figures, when painted with the purity of Raphael, may be endured: but nakedness without purity is offensive and indecent, and on Mr.&nbsp;Etty's {{sic|hide=y|canvass}} is mere dirty flesh."<ref>{{Cite newspaper The Times |title=Lord Gwydyr |date=29 January 1822 |page=3 |issue=11466 |column=A }}</ref> Unlike nude studies by other artists of the period, Etty made no attempt to idealise the female nudes in ''Cleopatra'', but instead painted them in realistic poses and realistic flesh tones.{{sfn|Farr|1958|p=31}} Possibly alarmed by the criticism, Freeling persuaded Etty to paint clothes onto some of the figures in ''Cleopatra'', although in 1829 he allowed Etty to return the figures to the state in which he had originally painted them.{{sfn|Farr|1958|p=31}}

[[File:William Etty - Self-Portrait - Google Art Project.jpg|right|upright|thumb|William Etty, self-portrait, 1823]]
The success of ''Cleopatra'' notwithstanding, Etty remained a student at the RA and continued with a rigorous programme of study.{{sfn|Farr|1958|p=32}} Now in his mid 30s, he felt that for his work to progress beyond mere competence he needed a chance to study those European masters whose styles he most admired, despite his unpleasant experiences the last time he left England.{{sfn|Farr|1958|p=34}}

===Travels in Europe===
Recalling his homesickness and loneliness the last time he had ventured abroad, for his next foreign trip Etty travelled in the company of [[Richard Evans (portrait painter)|Richard Evans]], who had been a fellow student of Thomas Lawrence.{{sfn|Farr|1958|p=35}} Despite warnings that Italy would be uncomfortably hot, the two men set out on 23&nbsp;June 1822 with the aim of reaching Rome. Crossing to France by means of the recently developed [[steamboat]], they arrived in Paris on 26&nbsp;June.{{sfn|Farr|1958|p=35}} They stayed in Paris for two weeks, visiting [[Versailles]] and the city's public art galleries; they also visited the much-reduced remaining exhibits of the [[Louvre]].{{efn-ua|By this time, all artworks looted during the wars of the past four decades had been returned to their original owners, leaving the Louvre with a drastically diminished collection.{{sfn|Farr|1958|p=35}}}} The Louvre was hosting an exhibition of modern French painting at the time, at which Etty felt a great dislike for the quality of portraiture in France, but he was nonetheless greatly impressed by the permanent collections, in particular Rubens's [[Marie de' Medici cycle]], elements of which he later reused in many of his own works.{{sfn|Farr|1958|p=35}}

Travelling onwards through [[Dijon]] and Switzerland, Etty and Evans passed over the Simplon Pass and on to [[Milan]], where they viewed Leonardo's ''[[The Last Supper (Leonardo da Vinci)|The Last Supper]]'' and visited the [[Pinacoteca di Brera|Brera Gallery]]. After a sixteen-day [[cabriolet (carriage)|cabriolet]] ride through the gruelling heat of an unusually hot summer, the two men reached [[Florence]], where they stayed for two days visiting the city's galleries. On 10&nbsp;August, the two men reached Rome.{{sfn|Farr|1958|p=36}}

Although Etty was somewhat disappointed by Rome, comparing the architecture of [[St. Peter's Basilica|St. Peter's]] unfavourably with that of [[St Paul's Cathedral|St. Paul's]], he was highly impressed with Michelangelo's "almost Venetian" use of colour in the [[Sistine Chapel]].{{sfn|Farr|1958|p=36}} He also met [[Antonio Canova]], to whom he had been recommended by Lawrence, shortly before Canova's death.{{sfn|Farr|1958|p=36}} Rome was at the time suffering badly from [[malaria]], and after two weeks Etty decided to leave for [[Naples]].{{sfn|Farr|1958|p=37}} Evans had contracted malaria and decided to stay in Rome,{{sfn|Burnage|Bertram|2011|p=22}} and so Etty travelled to Naples alone and returned to Rome in the company of actor [[William Macready]], who happened to be making the same journey, and with whom he remained a good friend for the rest of his life.{{sfn|Farr|1958|p=37}} On his return to Rome, Etty toured the city's museums, making copies of various artworks, particularly those of the Venetian artists such as Titian and Veronese whom he so admired.{{sfn|Farr|1958|p=37}}

====Venice====
[[File:The Bridge of Sighs YORAG-65.jpg|left|upright|thumb|''[[The Bridge of Sighs (painting)|The Bridge of Sighs, Venice]]'', (1835) was painted from pencil sketches made by Etty during his 1822 visit.{{sfn|Burnage|2011a|p=181}}{{efn-ua|It is uncertain why Etty waited over 10 years before transforming his preliminary sketches for ''[[The Bridge of Sighs (painting)|The Bridge of Sighs]]'' into a finished painting. Turner had exhibited a highly acclaimed view of Venice in 1833, and it is possible this inspired Etty to demonstrate that he could depict the same subject with equal skill.{{sfn|Burnage|2011a|p=181}}}}]]
Feeling unsettled, Etty left Rome for Venice, intending to remain there for 10 days and then return to England.{{sfn|Green|2011|p=67}} Evans preferred to remain in Rome, so Etty travelled alone, pausing briefly in Florence and in [[Ferrara]] (where he stopped to kiss the armchair of [[Ludovico Ariosto]]).{{sfn|Farr|1958|p=38}} The painter [[Charles Lock Eastlake]], then resident in Rome, had provided Etty with a letter of introduction to Harry D'Orville, British [[vice consul]] in Venice; D'Orville was so impressed with Etty that he arranged for him to stay in his own house, rather than in lodgings.{{sfn|Farr|1958|p=38}} Etty had long considered Venice his spiritual home and "the hope and idol of my professional life", and had often wondered why, given its artistic importance, so few English travellers visited the city. He was not disappointed. Throughout the remainder of his life, he looked back on his visit to Venice with great fondness, writing shortly before his death that "Venezia, cara Venezia! thy pictured glories haunt my fancy now!"{{sfn|Farr|1958|p=38}}

Although Etty had only intended to stay for 10 days, he was so taken with Venice that he remained for over seven months.{{sfn|Farr|1958|p=38}} He fell into a routine of copying paintings in Venetian collections by day, and attending the life class of the [[Accademia di Belle Arti di Venezia|Venetian Academy of Fine Arts]] by night,{{sfn|Farr|1958|p=39}} producing around 50 oil paintings in total as well as numerous pencil sketches.{{sfn|Farr|1958|p=40}} He was extremely impressed with the high quality of the Venetian Academy; the instructors in their turn were extremely impressed with the quality of Etty's work, in particular his flesh tones.{{sfn|Farr|1958|p=40}} He acquired the nickname of "Il Diavolo" owing to the high speed at which he was able to paint, and watching him at work became something of a spectacle in its own right; [[Gioachino Rossini]], [[Ladislaus Pyrker]] (then [[Patriarch of Venice]]) and others came to watch him paint.{{sfn|Farr|1958|p=40}} So devoted was Etty to his studies in Venice that he exhibited no original work in 1823, writing to his brother that "If one spent all the time in painting originals, one might as well, nay better, be at home".{{sfn|Farr|1958|p=39}} The members of the Venetian Academy were so impressed by Etty that he was elected an Honorary Academician.{{sfn|Farr|1958|p=40}}{{efn-ua|The Venetian Academy also named Thomas Lawrence—then highly popular in Italy following the installation of his ''George IV'' at the Vatican{{sfn|Farr|1958|p=38}}—as an Honorary Academician, giving Etty the diploma to deliver on his return to England. Etty wrote to Lawrence that "by electing you, they {{notatypo|honored}} their own body; by electing me, they {{notatypo|honored}} only myself".{{sfn|Farr|1958|p=40}}}}

[[File:Etty – Venus of Urbino.jpg|right|thumb|Etty's 1823 copy of Titian's ''[[Venus of Urbino]]'' was considered among the finest copies of that painting ever made. Etty was particularly pleased with this work and rejected all offers to purchase it, keeping it in his studio until his death.{{sfn|Green|2011|p=62}}|alt=reclining nude woman]]
By 7&nbsp;June 1823, Etty felt that he had reached the limits of what he could accomplish in Venice, and was considering returning home.{{sfn|Farr|1958|p=40}} Soon afterwards he left Venice for Florence, with the intention of creating a full-size replica of Titian's ''[[Venus of Urbino]]'', considered one of the finest works of the Venetian school of painting. Although the [[Uffizi]] management were hostile to this proposal, after 10 days of negotiations they allowed Etty to create his copy. His contemporaries considered it among the finest copies ever made of a painting generally considered to be impossible to copy.{{sfn|Farr|1958|p=41}} In late July Etty began the journey home, pausing for a further two months in Venice.{{sfn|Farr|1958|p=41}} On 8&nbsp;October 1823 Etty left Venice, travelling via [[Mantua]] and Geneva to Paris.{{sfn|Farr|1958|pp=42–43}}

Etty had intended to travel to England, but instead remained in Paris, to resume copying works in Paris galleries, collecting prints and buying a [[lay figure]] and around 200 paintbrushes, both of which the French made to a higher standard than English manufacturers.{{sfn|Farr|1958|p=43}} In early January 1824, Etty returned to London.{{sfn|Farr|1958|p=45}}

== Success and controversy (1824–1835) ==
{{multiple image|caption_align=center|header_align=center | align= left | direction = vertical | total_width=220 | image1= William Etty - Pandora Crowned by the Seasons, 1823-1824.jpg |width1=944|height1=662| alt1= Naked woman surrounded by other nude figures | caption1= Incomplete first version | image2= William Etty - Pandora Crowned by the Seasons, 1824.jpg |width2=1024|height2=813| alt2 = Naked woman surrounded by other nude figures | caption2= The finished ''Pandora''|footer=Etty abandoned the first of his 1824 ''Pandora'' paintings half-complete, and exhibited the second.}}

As soon as he arrived home, Etty began to work on ensuring he had at least one picture ready for the 1824 Summer Exhibition. He decided to return to a theme for which he had created a sketch in 1820, that of the story of [[Pandora]] and in particular the passage in [[Hesiod]] in which the seasons crown her with a wreath.{{sfn|Farr|1958|p=45}} He had exhibited a sketch in 1820 on the same theme,{{sfn|Farr|1958|p=150}} and had already decided on the arrangement of the figures.{{sfn|Farr|1958|p=45}} His first attempt in 1824 was abandoned half-finished, and he began again on a smaller canvas with different positioning of the key figures of ''Pandora'', [[Vulcan (mythology)|Vulcan]] and [[Venus (mythology)|Venus]].{{sfn|Farr|1958|p=45}}

''Pandora Crowned by the Seasons'' is an unusual composition, painted to resemble a [[bas-relief]] in which the different elements are emerging from a flat background.{{sfn|Farr|1958|p=45}} The figure of Pandora stands in the centre, with Vulcan to one side and Venus and [[Cupid]] to the other, each leaning away from her; the figures of Vulcan and Venus, along with the four figures representing the seasons in the upper corners of the canvas, create a diamond shape around Pandora.{{sfn|Farr|1958|p=45}} The foot of Vulcan rests upon the picture frame, a favourite device of Rubens;{{sfn|Farr|1958|p=46}} elements of the picture's composition are also taken from an 1817 [[engraving]] on the same subject, drawn by Etty's fellow York artist [[John Flaxman]] and engraved by [[William Blake]].{{sfn|Farr|1958|p=45}} As with all Etty's history paintings from this time on, he worked by painting the figures first, and only filling in the background once the figures were complete.{{sfn|Myrone|2011|p=55}}

Although recognisably descended from earlier works such as ''The Coral Finder'', ''Pandora'' was a far more accomplished work than those Etty exhibited prior to his travels. Although some critics were reluctant to accept Etty's combination of realistic figures and an unrealistic setting (Etty's 1958 biographer Dennis Farr characterises the critical reaction to ''Pandora'' as "grudging admiration not unmixed with philistinism"{{sfn|Farr|1958|p=46}}), his fellow artists were extremely impressed with it,{{sfn|Farr|1958|p=46}} to the extent that [[Thomas Lawrence]] bought the painting at the 1824 Summer Exhibition.{{sfn|Farr|1958|p=150}}

In the wake of the success of ''Pandora'', Etty moved to an apartment in Buckingham Street, near [[Strand, London|<!-- this is not a typo, the t is always lowercase in the case of the Strand -->the Strand]], where he was to reside for the remainder of his working life.{{sfn|Farr|1958|p=46}} Shortly afterwards he applied to become an [[Associate of the Royal Academy]] for the first time, and on 1&nbsp;November was duly elected, beating [[William Allan (painter)|William Allan]] by 16 votes to seven.{{sfn|Farr|1958|p=47}} (''The Times'', at this time still hostile to Etty for his perceived indecency, sneered that "this cannot be as an honour conferred on Mr. Etty: if it were, he has deserved and should have obtained it long ago". The same reviewer did concede that Etty's copy of [[Tintoretto]]'s ''Esther Before Ahaseurus'' was "the most important picture in the room" in their report on an exhibition held at the British Institution of significant copies of paintings.<ref>{{Cite newspaper The Times |title=The Fine Arts |date=4 November 1824 |page=2 |issue=12489 |column=F }}</ref>)

===Betsy Etty===
[[File:Etty – Self-portrait, 1825.jpg|right|upright|thumb|William Etty, self-portrait, 1825. This was painted when Etty was trying to advertise himself as a young and successful artist, and bears little resemblance to his real appearance.{{sfn|Burnage|2011e|p=233}}]]

In the years following his return from Italy, Etty had a very limited social life. In a typical day he woke at 7&nbsp;am, painting from around 9&nbsp;or 10&nbsp;am until 4&nbsp;pm, after which he had a meal. Following the meal he took a walk, and attended life classes between 6&nbsp;and 8&nbsp;pm. On returning home he drank two cups of tea, and went to bed at midnight.{{sfn|Farr|1958|p=61}}

Etty was considered extremely unattractive, described by his 1855 biographer [[Alexander Gilchrist]]—a great admirer—as "Slovenly in attire, short and awkward in body—large head, large hands, large feet—a face marked with the small-pox, made still more noticeable by length of jaw, and a quantity of sandy hair, long and wild: all, conspired to make him 'one of the oddest looking creatures' in a Young Lady's eyes—what she would call 'a sight'; one, not redeemed (to her), by the massive brow, its revelation of energy and power, the sign-manual of Genius there legible."{{sfn|Gilchrist|1855a|p=136}}

One of his few close companions was his niece Betsy (Elizabeth Etty), fifth daughter of his brother John.{{sfn|Robinson|2007|p=457}} Betsy was unmarried and 14 years younger than William, and became his housekeeper in 1824.{{sfn|Robinson|2007|p=458}} She remained in his service for the rest of his life,{{sfn|Farr|1958|p=59}} and as he grew older William increasingly came to depend on her,{{sfn|Robinson|2007|p=458}} suffering distress whenever they were apart and regularly writing to her in panic whenever he did not hear from her.{{sfn|Robinson|2007|p=460}} She became his companion and acted as his assistant, alongside his official assistant George Franklin.{{sfn|Robinson|2007|p=459}}

[[File:Hill & Adamson—William, Charles and Betty Etty.jpg|left|thumb|upright=1.2|Betsy (''left''), Charles (''centre'') and William (''right''), October 1844|alt=middle-aged woman and two elderly men]]
While he appears to have been attracted to young women throughout his life, and there is a strong suggestion in his letters that in his early years he had a sexual encounter with one of his models and possibly also a sexual encounter of some kind while in Venice,{{sfn|Robinson|2007|p=466}} there is no suggestion that he ever had a sexual relationship with Betsy of any kind.{{sfn|Robinson|2007|p=459}}{{efn-ua|Professor Jason Edwards of the University of York, writing in 2011, thinks it likely Etty was secretly homosexual. It is certain that he often met men in public bath-houses and invite them to pose nude for him.{{sfn|Edwards|2011|p=93}}}} He recorded in his diary in 1830 that "it is best I have not married because I have not noisy Children and can have nice Books, and Pictures etc".{{sfn|Farr|1958|p=22}} He suffered from extreme shyness throughout his life, and when compelled to attend dinner parties would often sit silent throughout, although he was popular with fellow artists and students.{{sfn|Farr|1958|p=93}} Etty rarely socialised, preferring to concentrate on his painting; when on one occasion it was suggested that he had little further need of training and need not continue attending classes, he indignantly replied that "it fills up a couple of hours in the evening, I should be at a loss how else to employ".{{sfn|Farr|1958|p=56}}

As she grew older Betsy suffered from numerous illnesses, the exact natures of which are not recorded but which are known to have caused William great concern.{{sfn|Robinson|2007|p=460}} William began to fear that Betsy would marry and leave his service, in 1835 going as far as to have her sign an affidavit that she would never leave him.{{sfn|Robinson|2007|p=463}} In 1843 his younger brother Charles, a successful planter in [[Java]], returned to England after over 30 years abroad.{{sfn|Farr|1958|p=98}} William became deeply suspicious that Betsy was becoming too close to Charles, a suspicion intensified when Charles took her on a visit to Holland and the Rhine;{{sfn|Robinson|2007|p=470}} Charles returned to Java in 1845.{{sfn|Burnage|Bertram|2011|p=27}} In around 1844 Betsy struck up a close relationship with the pen manufacturer and art collector [[Joseph Gillott]],{{sfn|Robinson|2007|p=473}} one of William's regular customers who owned some of his pictures.{{sfn|Farr|1958|p=98}} Gillott was married with children, and the closeness of their relationship caused William concern.{{sfn|Robinson|2007|p=474}} In 1848, William retired to York leaving Betsy alone in his London apartment;{{sfn|Robinson|2007|p=475}} although aware that Betsy was considering marriage he was confident that he could persuade her to come to York and live with him in his retirement.{{sfn|Robinson|2007|p=475}} Betsy did eventually join him in York, and was present at his death.{{sfn|Robinson|2007|p=475}}
{{Clear}}

===''The Combat''===
{{multiple image|caption_align=center|header_align=center | align= right | direction = horizontal | total_width=440 | image1= Etty – The Combat.jpg |width1=724|height1=540| alt1= Semi-nude man prepares to stab a naked man, while a semi-nude woman clutches his waist | caption1= ''[[The Combat: Woman Pleading for the Vanquished]]'', William Etty (1825). | image2= Etty – The Combat (1848 engraving).jpeg |width2=950|height2=717| alt2 = Semi-nude man prepares to stab a naked man, while a semi-nude woman clutches his waist | caption2= [[George Thomas Doo|G. T. Doo]] engraving, 1848, based on a version completed by Etty in 1845.}}
{{main article|The Combat: Woman Pleading for the Vanquished}}
Spurred by the reception of ''Pandora'', in 1825 Etty exhibited his most ambitious work to date, ''[[The Combat: Woman Pleading for the Vanquished]]''. This was a huge canvas, 399&nbsp;cm (13&nbsp;ft 1&nbsp;in) across,{{sfn|Burnage|2011b|p=111}} showing a woman pleading for the life of a defeated soldier as another soldier prepares to kill him.{{sfn|Burnage|2011b|p=112}} Highly unusually for a history painting at the time, Etty did not base ''The Combat'' on an incident from literature, religion or history, but instead painted a scene entirely from his own imagination, based on an idea which had first occurred to him in 1821.{{sfn|Farr|1958|p=47}}{{sfn|Burnage|2011b|p=112}} (He was later to describe this type of painting as "that class of compositions called by the Romans ''Visions'', not having their origin in history or poetry".<ref name="Times1832">{{Cite newspaper The Times |title=Royal Academy |date=24 May 1832 |page=3 |issue=14860 |column=F }}</ref>)

''The Combat'' was extremely well received, even by critics who had previously been hostile to Etty. In terms of composition and technique it was considered as equalling or even surpassing Titian and Veronese,<ref name="EuropeanMag">{{cite journal|date=1 June 1825|title=The Fifty-Seventh Annual Exhibition of the Royal Academy|journal=The European Magazine, and London Review|publisher=Sherwood, Jones and Co.|location=London|volume=87|issue=May 1825|page=459}}</ref> and one critic considered it "one of the finest and most masterly works that ever graced the walls of the Royal Academy",<ref>{{cite journal|date=31 May 1825|title=Fine Arts|journal=The Lady's Magazine|publisher=S Robinson|location=London|volume=6|page=311}}</ref> while those critics who had previously dismissed Etty for his supposed obscenity reconsidered their opinions in light of it.{{sfn|Burnage|2011b|p=111}}{{efn-ua|Despite the high regard in which it was held, ''The Combat'' failed to sell at the Summer Exhibition.{{sfn|Farr|1958|p=49}} It was bought from Etty by fellow artist [[John Martin (painter)|John Martin]] for 300&nbsp;guineas (about £{{formatnum:{{Inflation|UK|300|1825|r=-3}}|0}} in {{inflation/year|UK}} terms{{Inflation-fn|UK|df=y}}), following a promise Martin had made to Etty before the painting was complete.{{sfn|Farr|1958|p=48}} At over 13 feet wide, the painting was too large for Martin's house, and he sold it to the [[Royal Scottish Academy]] six years later.{{sfn|Farr|1958|p=48}}}} ''The Combat'' continued to be one of Etty's best-regarded works, and formed the basis of a successful 1848 engraving by [[George Thomas Doo]].{{sfn|Burnage|2011b|p=110}}

Following the success of ''The Combat'', Etty painted a further four very large paintings. One was on the well-worn theme of the [[Judgement of Paris]], exhibited in 1826, and three were on the theme of [[Book of Judith|Judith]] beheading [[Holofernes]],{{sfn|Farr|1958|p=50}} the first of which was exhibited in 1827.{{sfn|Burnage|Bertram|2011|p=23}}{{efn-ua|The other two ''Judith'' paintings were commissioned in 1829 to form a [[triptych]] with the original, by the [[Royal Scottish Academy]] who had bought the first painting in that year.{{sfn|Farr|1958|p=55}} Etty used [[bitumen]] to accentuate the shadows in the ''Judith'' paintings, which over the next century caused them to deteriorate beyond repair.{{sfn|Farr|1958|p=50}}}} Unlike other artists who had painted this subject, Etty's ''Judith'' paintings did not show the actual beheading, as he hoped to avoid "the offensive and revolting butchery, some have delighted and even revelled in".{{sfn|Farr|1958|p=50}} The first ''Judith'' picture in particular was extremely well received critically.{{sfn|Farr|1958|p=51}}

===Royal Academician===
[[File:Etty - The World Before the Flood (Southampton).jpg|left|thumb|''[[The World Before the Flood]]'' (1828) was intended to illustrate [[John Milton]]'s ''[[Paradise Lost]]''.{{sfn|Burnage|2011b|p=113}}|alt=Large number of semi-naked people]]
In February 1828, shortly before his 41st birthday, Etty soundly defeated [[John Constable]] by 18 votes to five to become a full [[Royal Academician]],{{sfn|Farr|1958|p=52}} at the time the highest honour available to an artist.{{sfn|Robinson|2007|p=135}}{{efn-ua|In Etty's time, honours such as knighthoods were only bestowed on presidents of major institutions, not on even the most well respected artists.{{sfn|Robinson|2007|p=135}}}} By this time, complaints about his supposed indecency were beginning to resurface. All but one of the 15 paintings Etty exhibited at the Royal Academy in the 1820s had included at least one nude figure, and Etty was acquiring a reputation for using respectable themes as a pretext for nudity.{{sfn|Burnage|2011d|p=32}}

For the 1828 Summer Exhibition Etty exhibited three pictures; ''[[The World Before the Flood]]'', ''Venus, the Evening Star'' and ''Guardian Cherubs''. (The latter was a portrait of the children of [[Welbore Agar, 2nd Earl of Normanton]],{{sfn|Farr|1958|p=52}} and was the only non-nude painting exhibited by Etty at the RA in the 1820s.{{sfn|Burnage|2011d|p=32}}) Although similar to his earlier works, they were technically more accomplished.{{sfn|Farr|1958|p=53}} Both ''The World Before the Flood'' and ''Venus'' attracted positive reviews in the press and were sold during their exhibition for substantial sums,{{sfn|Farr|1958|p=52}} although the purchase by [[George Leveson-Gower, 1st Duke of Sutherland|the Marquess of Stafford]] of ''The World Before the Flood''—a work containing scantily clad figures of both sexes—drew a pointed comment in ''[[The Gentleman's Magazine]]'' that it "will serve to accompany the ''private'' Titians of that nobleman".<ref>{{cite journal|date=June 1828|title=Fine Arts: Royal Academy|journal=The Gentleman's Magazine|publisher=J. B. Nichols and Son|location=London|volume=25|page=539}}</ref> Despite the increasing number of complaints in the press about his use of nudity, respect for Etty from his fellow artists continued to rise, and in 1828 the British Institution awarded him £100 in recognition of his talent.{{sfn|Farr|1958|p=53}}

[[File:Male Nude, with Arms Up-Stretched YORAG 74.JPG|right|upright=.9|thumb|''Male Nude, with Arms Up-Stretched'' (1828). Despite his high status, Etty continued to study at the RA life classes. Professor Jason Edwards of the University of York suggests that this image may have been intended to be hung horizon{{shy}}tally with the model on his back,{{sfn|Edwards|2011|p=97}} but it is more likely to be a study for a [[Descent from the Cross]].{{sfn|Burnage|2011c|p=212}} As of 2011, this painting was the York Art Gallery's best-selling postcard.{{sfn|Edwards|2011|p=91}}|alt=nude male with his arms tied above his head]]
As soon as the 1828 Summer Exhibition was over, Etty stopped work on other projects to concentrate on a [[reception piece|diploma piece]], without which he could not become a Royal Academician. This piece, ''Sleeping Nymph and Satyrs'', was presented to the Academy in October, and in December 1828 Etty became a Royal Academician.{{sfn|Farr|1958|p=54}}{{efn-ua|Upon election to the Royal Academy, candidates were required to produce a [[diploma work]] within a year, to demonstrate their abilities and to leave the RA with a permanent record of the artist's distinctive style and philosophies. While some artists disliked the requirement to produce a significant work for no material reward, Etty took the task of illustrating his ability and style extremely seriously, and ''Sleeping Nymph and Satyrs'' combines his distinctive attributes of rich colours, pastiche of Poussin, Reynolds and the Old Masters, and nudes painted from life. The painting was considered morally questionable, and was never publicly exhibited in Etty's lifetime. It remains in the collection of the Royal Academy.{{sfn|Burnage|2011b|p=118}}}}

{{blockquote|It appears to me then that virtuous happiness being our lawful aim in life, that having Academic Rank and Fame the next thing to be considered (if God approve) is to seek that Decent Competency which shall make my latter days comfortable and happy, which I hope if it please Him, to be able to do by the time I am fifty—by occasionally mixing with my historic pictures a Portrait or two, and to vary and extend my sphere—a classic Landscape or two so that if I can get about 100 a year I may be enabled to retire to my dear native city and spend my latter days in peace.|William Etty, writing in around 1830–31.{{sfn|Farr|1958|p=60}}}}

====Life classes====
Even after he had achieved status as a full Royal Academician, Etty regularly attended life classes; fellow artist John Constable sarcastically wrote that "Etty [sets] an excellent example to the Modles{{sic}} for regularity".{{sfn|Farr|1958|p=56}} His contemporaries considered this at best peculiar and at worst extremely inappropriate, complaining that for someone in his senior position to attend classes as a student was both unprofessional and unnecessary, and that it damaged the standing of the position of Academician;{{sfn|Farr|1958|p=56}} there were complaints that he had far outlasted the official student term of 10 years.{{sfn|Myrone|2011|p=53}} Etty refused to give up attendance, offering to resign rather than give up his studies, and the Academy grudgingly allowed him to continue to attend classes.{{sfn|Farr|1958|p=56}} He divided his time between the RA's own life classes and those at nearby [[St. Martin's Lane]].{{sfn|Farr|1958|p=61}}

Etty generally finished life studies during three evenings' sittings. On the first evening he would sketch the model in charcoal or chalk, and then ink in the outline. On the second he used oil paints to fill in the figures. On the third he layered glaze and the final coverings of paint.{{sfn|Turner|2011b|p=77}} He usually painted on [[cardboard|millboard]], re-using the reverse for fresh paintings.{{sfn|Burnage|2011c|p=207}} His female models were typically shop-girls, prostitutes, actresses or [[poses plastiques]] models,{{sfn|Smith|1996|p=25}} while his male models tended to be [[Life Guards (United Kingdom)|Life Guards]] recruited from the nearby barracks, who he thought to have an appropriate muscular physique,{{sfn|Smith|1996|p=25}} or occasionally men Etty met in public [[Baths and wash houses in Britain|bath houses]].{{sfn|Edwards|2011|p=93}}

====''Hero and Leander''====
[[File:Etty – Hero Expiring.jpg|left|thumb|Etty thought ''[[Hero and Leander (Etty)|Hero and Leander]]'' (1829) one of his best works.|alt=topless woman lying on a dead man]]
In the wake of Etty's elevation to Academician, he exhibited two paintings at the Summer Exhibition in 1829, ''Benaiah, David's Chief Captain'' and ''Hero, Having Thrown Herself from the Tower at the Sight of Leander Drowned, Dies on his Body''.{{sfn|Farr|1958|p=55}} ''Benaiah'' is on the same large scale as ''The Combat'' at 398&nbsp;cm (13&nbsp;ft 1&nbsp;in) wide, and is a very similar composition, although in place of the woman begging for mercy is the body of a dead soldier.{{sfn|Farr|1958|p=55}} ''Hero'' recycles the pose of the dead soldier from ''Benaiah'' as the dying [[Hero and Leander|Hero]] as she lies on the body of her dead lover.{{sfn|Farr|1958|p=55}} Unusually for Etty, ''Hero'' is painted in intentionally neutral tones rather than his usual Venetian colours,{{sfn|Burnage|2011b|p=122}} and the composition uses foreshortening of the bodies to create a single diagonal across the canvas.{{sfn|Farr|1958|pp=55–56}} For the rest of his life, Etty considered ''Hero'' to be "the finest of my fine pictures".{{sfn|Gilchrist|1855b|p=278}}

[[File:Etty Andromeda.jpg|right|thumb|upright=.9|''Andromeda'' ({{circa|1830}}). Etty often added elements from literature to his life studies to allow him to sell them as history paintings.{{sfn|Farr|1958|p=94}} The [[Lady Lever Art Gallery]] notes that the later addition of chains to transform this nude study into [[Andromeda (mythology)|Andromeda]] "cannot be said to have had precisely the effect intended".{{efn-ua|In full: "Etty's reputation suffered from his preoccupation with the female nude, chiefly on account of paintings such as this. It was probably painted as a study from the model in the life class at the Royal Academy. Etty's regular attendance at the class, even when he was a senior Academician, aroused widespread comment, and his subsequent addition of chains—in order to elevate the figure into the classical figure of Andromeda, who was left chained to a rock as a victim for a dragon—cannot be said to have had the precise effect intended."<ref>{{Cite sign |url=https://notestothemilkman.wordpress.com/2012/08/17/unsettled-at-the-lady-lever-art-gallery-port-sunlight/ |title=Andromeda |type=Museum label |publisher=[[Lady Lever Art Gallery]] |location=Port Sunlight}}</ref>}}]]
On 7&nbsp;January 1830 Etty's mentor Thomas Lawrence died,{{sfn|Farr|1958|p=57}} followed on 30&nbsp;July by Etty's mother.{{sfn|Farr|1958|p=56}} Etty was devastated by the loss, and was one of those considered to replace Lawrence as President of the Royal Academy, although in the event he did not stand for election.{{sfn|Farr|1958|p=57}} Possibly distracted by the death of Lawrence, Etty submitted only three paintings to the Summer Exhibition that year.{{sfn|Farr|1958|p=58}} One of these, ''Judith Going Forth'', was an addition to ''Judith'', which had been commissioned the previous year by that painting's new owners, the [[Royal Scottish Academy]].{{sfn|Farr|1958|p=55}}{{sfn|Farr|1958|p=58}}

====''Candaules''====
{{main article|Candaules, King of Lydia, Shews his Wife by Stealth to Gyges, One of his Ministers, as She Goes to Bed}}
Of Etty's two original works exhibited at the RA in 1830, ''The Storm'', inspired by [[Psalm 22]],<ref name="GentsMagMay1830">{{cite journal|date=May 1830|title=Royal Academy|journal=The Gentleman's Magazine|publisher=J. B. Nichols and Son|location=London|volume=23|page=444}}</ref> attracted little interest and was dismissed by ''The Gentleman's Magazine''—typically a staunch supporter of Etty's work—as "a sad failure".{{sfn|Farr|1958|p=58}} The other painting exhibited was ''[[Candaules, King of Lydia, Shews his Wife by Stealth to Gyges, One of his Ministers, as She Goes to Bed]]'', which was to prove one of the most controversial works of Etty's career. ''Candaules'' is based on a story from [[Herodotus]] in which king [[Candaules]] arranges for his servant [[Gyges of Lydia|Gyges]] to spy on his wife Nyssia undressing without her knowledge.<ref>{{Herodotus|en|1|9|ref}}</ref> Gyges is discovered and at Nyssia's behest kills Candaules, marries Nyssia and rules the kingdom in his stead.<ref>{{Herodotus|en|1|12|ref}}</ref> The painting shows the moment at which Nyssia removes the last of her clothes.{{sfn|Robinson|2007|p=157}} By positioning the figures in such a way that none are looking out of the picture, and the viewer is directly behind Nyssia, Etty aimed for the viewer to feel the same sense of voyeurism and intrusion that Gyges would have felt, forced to spy on his master's naked wife against his will and without her knowledge.{{sfn|Burnage|2011b|p=127}}

[[File:William Etty (1787–1849) – Candaules, King of Lydia, Shews his Wife by Stealth to Gyges, One of his Ministers, as She Goes to Bed – N00358 – Tate.jpg|left|thumb|''[[Candaules, King of Lydia, Shews his Wife by Stealth to Gyges, One of his Ministers, as She Goes to Bed]]'' (1830)|alt=Woman removing her clothing while two naked men watch]]
Etty felt that the work illustrated the moral that women are not chattels, and were entitled to punish men who violated their rights.{{sfn|Robinson|2007|p=159}} He made little effort to explain this to his audience, and thus ''Candaules'' appeared morally highly ambiguous, inviting the viewer to sympathise either with the sexually immoral Candaules, the murderous Nyssia or the voyeuristic Gyges.{{sfn|Burnage|2011b|p=127}} From the moment it was unveiled ''Candaules'' was condemned as a cynical mix of a distasteful narrative and pornographic images, and there was near-unanimous consensus that it was inappropriate for public exhibition.{{sfn|Smith|2001a|p=133}} The piece remained controversial long after Etty's death; [[Alexander Gilchrist]]'s overwhelmingly flattering 1855 biography of Etty described it as "almost the only instance among Etty's works, of an undeniably disagreeable, not to say objectionable subject",{{sfn|Gilchrist|1855a|p=285}} while as late as 2011 Sarah Burnage of the University of York wrote of ''Candaules'' that "it is perhaps hard to see the painting as anything but a deliberate attempt by the artist to shock and scandalise".{{sfn|Burnage|2011b|p=127}} ''Candaules'' was bought by wealthy collector [[Robert Vernon (art patron)|Robert Vernon]], who was in the process of building a major collection of British art and was to become one of Etty's most important customers.{{sfn|Farr|1958|p=61}}

With the three paintings for the 1830 Summer Exhibition completed, Etty decided to pay another visit to Paris.{{sfn|Farr|1958|p=59}} Etty travelled via [[Brighton]], arriving in Paris in early July 1830. He found the atmosphere of the city had become unpleasantly hedonistic, writing to Betsy that "If I had a daughter, she should ''not'' be educated here. Pleasure and amusement are the idols."{{sfn|Farr|1958|p=59}}

France was in constitutional crisis in 1830, which reached a peak in late July as the [[July Revolution]] began and riots erupted across Paris. Although moved by the death and destruction taking place around him, Etty felt that the purpose of his visit was to study paintings, and continued to attend the Louvre to copy paintings as the violence raged in the surrounding streets.{{sfn|Farr|1958|p=60}} On 31&nbsp;July he decided to abandon the trip; abandoning his proposed onward journey to Brussels and Antwerp, he collected the five copies he had made in the Louvre and set off for London.{{sfn|Farr|1958|p=60}}

[[File:Portrait of James Atkinson YORAG-983.jpg|right|upright=.85|thumb|''James Atkinson'' (1832). Surgeon [[James Atkinson (surgeon)|James Atkinson]] was the founder of the [[Yorkshire Philosophical Society]], of which Etty was a member.{{sfn|Farr|1958|p=64}} [[David Wilkie (artist)|David Wilkie]] thought this one of the best portraits in England.{{sfn|Farr|1958|p=65}}]]
The works Etty painted following his return began to show a departure in style from his previous efforts. While the figures in his previous original paintings had been painted from sketches of models made in the studio or life classes, from now on he began to work from memory, and as a consequence his figures began to appear more idealised; Farr (1958) describes his figures from now on as {{nowrap|"[conforming]}} less to a particular aspect of the model than to a preconceived notion of what the model ought to look like".{{sfn|Farr|1958|p=62}}

====''Youth and Pleasure'' and ''The Destroying Angel''====
{{main article|Youth on the Prow, and Pleasure at the Helm|The Destroying Angel and Daemons of Evil Interrupting the Orgies of the Vicious and Intemperate}}
[[File:Etty Youth 1832.jpg|left|upright|thumb|''[[Youth on the Prow, and Pleasure at the Helm]]'' (1832)|alt=Naked people on a boat, naked people in the water around the boat, and a flying naked child blowing on the sails of the boat.]]
In 1832 Etty returned to the theme of ''A Sketch from One of Gray's Odes'', exhibited in 1822 to such disdain from the press. The result was ''[[Youth on the Prow, and Pleasure at the Helm]]'', which remains one of his best known works.{{sfn|Farr|1958|p=63}} Illustrating a passage from ''[[The Bard (poem)|The Bard]]'', a poem by [[Thomas Gray]],{{sfn|Burnage|2011b|p=128}} ''Youth and Pleasure'' has been described as "a poetic romance".{{sfn|Smith|2001a|p=57}} It shows a gilded boat being propelled by the breath of a nude child on the sails; one nude figure representing Pleasure languidly holds the [[Tiller|helm]] of the boat. A nude child blows bubbles, which another nude on the [[prow]] of the ship, representing Youth, reaches to catch. [[Naiad]]s, again nude, swim around and clamber onto the boat.{{sfn|Burnage|2011b|p=128}}

''The Bard'' was about the English destruction of Welsh culture and the subsequent decline of the [[House of Plantagenet]] and its replacement by the Welsh [[House of Tudor]], and there was a general feeling among critics that Etty had misunderstood the point of the metaphors used by Gray.{{sfn|Burnage|2011b|p=128}} Etty claimed that his unusual interpretation of the text was intended to create "a general allegory of Human Life, its empty vain pleasures—if not founded on the laws of Him who is the Rock of Ages",{{sfn|Robinson|2007|p=180}} and that the painting served as a moral warning about the pursuit of empty pleasure.{{sfn|Smith|2001a|p=57}} This explanation appears to have left critics unconvinced. Even those critics most favourable towards Etty's technical accomplishments in creating the picture found it hard to ascertain what the painting was supposed to represent;{{sfn|Burnage|2011b|p=128}} other critics were more openly hostile, with ''[[The Morning Chronicle]]'' condemning it as "indulgence of what we once hoped a classical, but which are now convinced, is a lascivious mind".{{sfn|Burnage|2011d|p=33}} Purchased for a huge sum by Robert Vernon on its exhibition,{{efn-ua|The price Vernon paid for ''Youth and Pleasure'' is not recorded, although Etty's cashbook records a partial payment of £250 (about £{{formatnum:{{Inflation|UK|250|1832|r=-3}}|0}} in {{inflation/year|UK}} terms{{Inflation-fn|UK|df=y}}) so it is likely to have been a substantial sum.{{sfn|Farr|1958|p=159}} Vernon's later moving of ''Youth and Pleasure'' to make way for [[John Constable]]'s ''[[The Valley Farm]]'' prompted the comment from Constable that "My picture is to go into the place—where Etty's "[[Bumboat]]" is at present—his picture with its precious freight is to be brought down nearer to the nose."{{sfn|Smith|2001a|p=57}} ''Youth and Pleasure'' was among the 11 Etty paintings presented by Vernon to the National Gallery in 1847,{{sfn|Robinson|2007|p=388}} and in 1949 it was transferred to the [[Tate Gallery]],{{sfn|Farr|1958|p=158}} where {{asof|2015|lc=y}} it remains.<ref>{{cite web|url=http://www.tate.org.uk/art/artworks/etty-youth-on-the-prow-and-pleasure-at-the-helm-n00356|title=William Etty – Youth on the Prow, and Pleasure at the Helm|publisher=[[Tate]]|date=May 2007|access-date=3 June 2015}}</ref>}} ''Youth and Pleasure'' remained controversial long after Etty's death, with Farr's 1958 biography describing it as "singularly inept".{{sfn|Farr|1958|p=63}}

[[File:The Destroying Angel and Daemons of Evil Interrupting the Orgies of the Vicious and Intemperate, William Etty, 1832.jpg|right|thumb|''[[The Destroying Angel and Daemons of Evil Interrupting the Orgies of the Vicious and Intemperate|The Destroying Angel]]'' (1832)|alt=Painting of an angel hovering over a crowd of angels and humans]]
Also exhibited at the 1832 Summer Exhibition along with ''Youth and Pleasure'' was ''[[The Destroying Angel and Daemons of Evil Interrupting the Orgies of the Vicious and Intemperate]]'', seen as a riposte by Etty to his critics.{{sfn|Burnage|2011d|p=36}} Another of what Etty deemed "visions", depicting a wholly imaginary scene rather than one from literature, mythology or history,<ref name="Times1832" /> ''The Destroying Angel'' shows an imaginary [[Classical architecture|classical temple]] under attack from a [[destroying angel (Bible)|destroying angel]] and a group of [[Daemon (classical mythology)|daemons]].{{sfn|Burnage|2011d|p=37}}{{sfn|Burnage|2011b|p=131}} The human figures, intentionally painted in paler tones than usual to suggest death,{{sfn|Burnage|2011c|p=220}} each show their fear in a different way.{{sfn|Burnage|2011d|p=37}} Painted soon after his 1830 travels, it is thought that the heaped corpses and terrified crowds were directly inspired by events Etty had witnessed in Paris.{{sfn|Burnage|2011d|p=39}}

Unlike ''Youth and Pleasure'', the critical response to ''The Destroying Angel'' was generally favourable even from those critics usually hostile to Etty. The painting generated favourable comparisons to Michelangelo and Rubens,{{sfn|Burnage|2011d|p=39}} and Etty's early supporter William Carey (writing under the name of "Ridolfi") considered it to be evidence of Etty's "redeeming grace and spirit".{{sfn|Burnage|2011d|p=41}} The painting was explicitly seen as a renunciation by Etty of his previous nude studies, with ''[[Fraser's Magazine]]'' described it as "a sermon to [Etty's] admirers&nbsp;... where he inflicts poetical justice upon his own gay dames and their gallants, their revels being broken in upon, and they themselves being carried off most unceremoniously, like that ''little'' gentleman Don Juan, by sundry grim-looking brawny devils".<ref name="Fraser's1832">{{cite journal|date=July 1832|title=Our Royal-Academical Lounge|journal=Fraser's Magazine for Town and Country|publisher=James Fraser|location=London|volume=5|issue=30|page=719}}</ref>

[[File:St Edmund the King and Martyr, Lombard Street, London EC3 - Sanctuary - geograph.org.uk - 1084894.jpg|left|thumb|[[Reredos]] of [[St Edmund, King and Martyr]], painted by Etty in 1833. The London branch of the Etty family had links to the church from the 1770s onwards.{{sfn|Farr|1958|pp=66–67}} Etty painted Christian paintings throughout his career, in particular [[Penitent Magdalene (disambiguation)|Penitent Magdalenes]].{{sfn|Burnage|2011b|p=147}}|alt=Church altar with four wooden panels, two of which show Moses and Aaron]]
At around this time Etty began to receive many unsolicited letters from wealthy [[Old Etonian]] lawyer Thomas Myers. Myers was a huge admirer of Etty, and his letters mainly suggest literary topics he felt Etty ought to be painting so as to appeal to the nobility; he wrote regularly between July 1832 and May 1844. Although eccentric and largely incoherent (one of his suggestions was for Etty to raise his profile by painting nude portraits of the wives of the aristocracy), Etty appears to have taken at least some of Myers's suggestions seriously.{{sfn|Farr|1958|p=67}}

===Illness and recovery===
[[File:John Henry Mole - William Etty in his Studio 1834.jpeg|right|thumb|upright|''William Etty in his Studio'', [[John Henry Mole]], 1834|alt=Standing man looking at a painting]]
In mid-1833 Etty began a portrait of the daughters of [[Charles Williams-Wynn (1775–1850)|Charles Watkin Williams-Wynn]], the long-serving [[Conservative Party (UK)|Conservative]] Member of Parliament for [[Montgomeryshire (UK Parliament constituency)|Montgomeryshire]], titled ''[[Preparing for a Fancy Dress Ball]]''.{{sfn|Robinson|2007|p=194}} Etty was then little-known for portraits, but had recently completed ''Elizabeth Potts'', a portrait of the daughter of a family friend, which although poorly received by some critics was technically highly accomplished.{{sfn|Burnage|2011e|p=236}}{{efn-ua|''Elizabeth Potts'' is listed in catalogues from the time simply as ''A Portrait'', as the Potts family wished to preserve the subject's anonymity.{{sfn|Farr|1958|p=169}}}} He said at the time that he hoped his portrait of the Williams-Wynn children would be "one of my best".{{sfn|Burnage|Bertram|2011|p=24}}

In February 1834, Etty became seriously ill, and was incapacitated for four months.{{sfn|Farr|1958|p=70}}{{efn-ua|It is not certain what illness Etty suffered in 1834. He described his symptoms as "I feel scarce the strength of a kitten. A severe cough, sore throat, hoarseness, low fever, and soreness all over".{{sfn|Farr|1958|p=70}}}} Unable to paint, he exhibited only two already-completed paintings in the 1834 Summer Exhibition, ''Elizabeth Potts'' and ''The Cardinal''.{{sfn|Burnage|Bertram|2011|p=24}} In June of that year he left London to convalesce, renting a cottage in York. Weak and unable to concentrate, Etty painted very little, and spent the next few months visiting friends and touring the sights of Yorkshire.{{sfn|Farr|1958|p=70}} Gradually regaining his health, he returned to London in December 1834, and resumed work on those paintings he had left incomplete on the onset of his illness.{{sfn|Farr|1958|p=70}}

[[File:Preparing for a Fancy Dress Ball by William Etty YORAG 2009 6.jpg|left|upright|thumb|''[[Preparing for a Fancy Dress Ball]]'' (1835)|alt=Two young women in elaborate clothing]]
Making up for lost time during illness, he completed several significant works over the next few months, and exhibited eight paintings at the [[Royal Academy Exhibition of 1835|1835 Summer Exhibition]].{{sfn|Burnage|Bertram|2011|p=24}}{{efn-ua|''The Bridge of Sighs'', ''Phaedria and Cymochles on the Idle Lake'', ''[[Preparing for a Fancy Dress Ball]]'', ''Study from a Young Lady: A York Beauty'', ''Study of the Head of a Youth'', ''[[Venus and Her Satellites]]'', ''The Warrior Arming'' and ''Wood Nymphs Sleeping: Satyr Bringing Flowers''.{{sfn|Burnage|Bertram|2011|p=24}}}} These included works now considered among his most significant. ''[[The Bridge of Sighs (painting)|The Bridge of Sighs, Venice]]'' was based on sketches made by Etty during his visit to that city in the early 1820s.{{sfn|Farr|1958|p=72}} It shows the aftermath of an execution, as two men haul the body away to be thrown into the sea;{{sfn|Farr|1958|p=72}} it was described as "poetry on canvas" by William Macready, who bought it from Etty.{{sfn|Farr|1958|p=72}} ''[[Preparing for a Fancy Dress Ball]]'' was the portrait of the daughters of Charles Watkin Williams-Wynn which Etty had begun in 1833. Etty had put far more work into this than was usual for a portrait, remarking to the Williams-Wynn family that he intended "to make a fine work of Art as well as a resemblance".{{sfn|Gilchrist|1855a|pp=360–61}} Showing Williams-Wynn's daughters [[Charlotte Williams-Wynn (diarist)|Charlotte]] and Mary in elaborate Italian-style costumes,{{sfn|Burnage|2011e|p=239}} it was critically well received as evidence that Etty was able to paint a major work that did not rely on nudity,{{sfn|Burnage|2011e|p=239}} as well as demonstrating that Etty could paint on commission for the elite, leading to further commissions.{{sfn|Burnage|2011e|p=229}} ''The Warrior Arming'' was a study of [[Godfrey de Bouillon]],{{sfn|Farr|1958|p=70}} painted to satisfy the then-current fad for [[medievalism]].{{sfn|Farr|1958|p=71}} Etty had recently developed an interest in collecting pieces of [[plate armour|armour]], and ''The Warrior Arming'' is a technically adept study of the effects of lights from multiple sources shining on polished armour.{{sfn|Farr|1958|p=71}}

The most contentious of Etty's 1835 RA exhibits was ''[[Venus and Her Satellites]]'', a depiction of the Toilet of Venus.{{sfn|Farr|1958|p=73}} This was condemned in much of the press as pornographic,{{sfn|Farr|1958|p=73}} and was described as having a "total absence of soul",<ref>{{cite journal|date=27 May 1835|title=Fine Arts: Exhibition of the Royal Academy, Somerset House|journal=Leigh Hunt's London Journal|publisher=H. Hooper|location=London|issue=61|page=167}}</ref> with ''[[The Observer]]'' in particular extremely hostile, calling for the Archbishop of Canterbury to become involved in chastising Etty for his lack of taste.<ref name="ObserverVenus">{{cite journal|date=10 May 1835|title=Fine Arts: Royal Academy|journal=The Observer|location=London|page=3}}</ref> Despite this condemnation, Etty considered ''Venus and her Satellites'' one of his best works, and sold it to [[Edward Pryce Owen|Rev. Edward Pryce Owen]] for the substantial sum of 300&nbsp;guineas (about £{{formatnum:{{Inflation|UK|315|1835|r=-3}}|0}} in {{inflation/year|UK}} terms{{Inflation-fn|UK|df=y}}) in August.{{sfn|Farr|1958|p=73}}
[[File:William Etty - Venus and Her Satellites.jpg|right|thumb|''[[Venus and Her Satellites]]'' (1835)|alt=Seven topless women, an empty suit of armour, and a balding man playing the lyre]]
{{blockquote|We must, indeed, be more serious with this gentleman [Etty] than is our wont, for the "Society for the Suppression of Vice" are not to be excused for their prosecutions in cases of obscene publications, and the Lord Mayor himself deserves at once to be sent to the tread-mill for imprisoning a little Italian boy for hawking about the streets a naked Cupid, if such lascivious scenes, such gross insults to morality and decency, are allowed to be exhibited at the ''Roy. Acad.'' with impunity. A Brothel on fire, which had driven all the Paphian Nymphs out from their beds into the court-yard, would be a modest exhibition compared to this—for they would at least exhibit ''en chemise''. Several ladies, we know, were deterred from going into this corner of the room to see Leslie's, Webster's, and other pictures of great merit there, to avoid the offence and disgrace Mr.&nbsp;E. has conferred on that quarter&nbsp;... Really, really, if Mr.&nbsp;E., with all his power of colour, turn his drawings of the human figure to no honester purpose—if the absence of all taste and decency is to mark his Academical studies, it is high time that he had a hint from an authority which neither he nor the Council of the Academy will dare to treat slightly. The Archbishop of Canterbury and some of our Bishops are fond of the arts—what say they to them in this shape?|''The Observer'' on ''Venus and Her Satellites'', 10{{nbsp}}May 1835.<ref name="ObserverVenus" />}}

In August 1835 Etty spent a brief holiday in [[Shropshire]], where he delivered ''Venus and Her Satellites'' to Owen.{{sfn|Farr|1958|p=73}} While en route back he made a detour to [[Manchester]] to visit an art exhibition; while there he made the acquaintance of wealthy cotton merchant Daniel Grant.{{sfn|Farr|1958|p=74}}

===Etty and York===
After [[Jonathan Martin (arsonist)|Jonathan Martin]]'s arson attack on York Minster in 1829 caused major damage, there were proposals by the [[dean and chapter]] to take the opportunity of the destruction to restructure the interior of the building.{{sfn|Farr|1958|p=56}} Etty was prominent in the effort to resist the redesign and to restore the building to its original state.{{sfn|Robinson|2007|p=197}} A campaign led by Etty and other notable York residents was successful, and the plans were eventually defeated in February 1831.{{sfn|Farr|1958|p=60}}{{efn-ua|The plan was proposed by [[Robert Smirke (architect)|Robert Smirke]], and involved taking the opportunity provided by the fire to reposition the [[rood screen]] and move the [[organ (music)|organ]] into the side aisles, making the Great East Window (one of the most important medieval [[stained glass]] works) more visible from within the building.{{sfn|Farr|1958|p=57}}}}

{{multiple image|caption_align=center|header_align=center | align= left | direction = horizontal | total_width=300 | image1= Monk Bar, York YORAG-64.jpg |width1=3846|height1=4810| alt1= Painting of a stone gatehouse | caption1= ''Monk Bar, York'' (1838) | image2= Monk Bar Gatehouse 4 (7374413778).jpg |width2=3057|height2=5010| alt2 = Photograph of the same stone gatehouse | caption2= Monk Bar in 2012|footer=The successful campaign to preserve York's city walls means that [[Monk Bar]], as painted by Etty in 1838,{{efn-ua|name="York Bar date"|The York Art Gallery dates Etty's ''Monk Bar, York'' to 1832.{{sfn|Burnage|Bertram|2011|p=24}} Both of Etty's recent biographers, Dennis Farr in 1958 and Leonard Robinson in 2007, date all four of Etty's paintings of the York Bars to c.&nbsp;1838.{{sfn|Robinson|2007|p=204}}{{sfn|Farr|1958|p=179}}}} remains virtually unchanged.}}
By the time of the Minster fire, the Corporation of York (the body responsible for local government) was already engaged in a debate about the future of the city's [[York city walls|defensive walls]].{{sfn|Robinson|2007|p=197}} The walls no longer served any practical purpose and were expensive to maintain, and with the population of the city rising rapidly the city was becoming cramped and dangerous.{{sfn|Robinson|2007|p=198}} The city gates ("Bars") had become a public health hazard given the number of locals using them as toilets, and theft of stone for other building works had left parts of the walls dangerously unstable. The Bars restricted [[stagecoach]]es, meaning York was unable to capitalise on its strategic position halfway along the lucrative London–Edinburgh route.{{sfn|Robinson|2007|p=199}} Faced with the need to clear the city's slums, in 1800 the Corporation sought permission from Parliament to demolish the Bars and much of the walls. Owing to opposition from York Minster the scheme was abandoned, but by 1826 the [[barbican]]s of four of the gates had been demolished.{{sfn|Robinson|2007|p=200}} In the face of this a public campaign to save the walls was launched in 1824, but attention on both sides of the debate was diverted by the Minster fire.{{sfn|Robinson|2007|p=200}} In 1828 Etty had written to his mother expressing horror at the demolition proposals, but distracted by the need to complete ''Sleeping Nymph and Satyrs'' was unable to take any action himself. By 1831 the Corporation had decided to demolish the barbicans but to retain and restore the walls.{{sfn|Robinson|2007|p=202}}

[[File:York station (1861).jpg|right|thumb|Railway lines entering York station through the city walls, 1861. The cutting of an arch in the walls, and the noise and smoke of trains so close to York Minster, distressed Etty.{{sfn|Robinson|2007|p=200}}|alt=Trains passing beneath a long wall to enter a station, near a large cathedral]]
In February 1832 Etty began a campaign of writing to local York newspapers urging the preservation of the walls, and sending donations to various campaigns associated with their retention.{{sfn|Robinson|2007|pp=202–03}} Although some local newspapers were now supporting preservation in light of the damage their demolition would do to the tourist trade, many locals—whose lives were made more difficult by living in a walled city with few points of entry—remained hostile to the preservation campaigns.{{sfn|Robinson|2007|p=203}} A proposal in 1838 by the [[York and North Midland Railway]] to cut an archway through the walls to allow access to [[York old railway station|a railway station within the walls]] galvanised Etty, and he delivered two lectures on the preservation of the walls during visits to York in 1838–39,{{sfn|Robinson|2007|p=205}} and made four paintings of the Bars.{{sfn|Robinson|2007|p=204}}{{efn-ua|name="York Bar date"}} Etty's words went unheeded and the archway was duly cut in the walls, much to his dismay, although the station was soon moved to its current location outside the walls to allow through the running of trains to both north and south.{{sfn|Robinson|2007|p=205}} While the walls were eventually saved in 1889, many years after Etty's death, Etty is sometimes credited with their salvation. It is open to debate how significant his part was. Some authors feel that his interventions had no impact and the preservation of the walls was the result of decisions made by the Corporation and lobbying by local newspapers, while others feel that the Corporation would not have made these decisions had Etty and other like-minded dignitaries not put pressure on them to do so.{{sfn|Robinson|2007|p=206}}

In 1838, Etty started lobbying for the establishment of an art school in York. He proposed that the [[Hospitium]] of [[St Mary's Abbey, York|St Mary's Abbey]] be used for this purpose, with the lower floor becoming a museum of sculpture and the upper floor becoming a school and exhibition hall.{{sfn|Farr|1958|p=84}} The Hospitium scheme was abandoned, but the York School of Design duly opened on a different site in 1842.{{sfn|Farr|1958|p=85}} Although the school was created by an artist who had built his reputation on nudes, nude art remained controversial. In 1847, following a complaint from a female student about a display of replicas of Ancient Greek sculptures, "the master was requested to have the penis of each of the offending statues cut off&nbsp;[...] a proceeding that called forth the indignation of the male students and the remonstrances of even the lady students".{{sfn|Smith|1996|p=19}}

==Later life (1836–1849)==
{{multiple image|caption_align=center|header_align=center | align= left | direction = horizontal | total_width=450 | image1= Study for 'A Family of the Forests' by William Etty.jpg |width1=1215|height1=931| alt1= Two nude figures in a crudely painted landscape | caption1= Early oil study | image2= Etty – A Family of the Forest.jpg |width2=1280|height2=1016| alt2 = Nude woman, almost-nude man and nude child in an elaborately painted landscape | caption2= ''A Family of the Forest'' |footer=Preliminary study and completed version of ''A Family of the Forest'' (1836).}}
In 1836 architect [[John Harper (architect)|John Harper]] arranged a small exhibition in York of works by modern artists, which included 11 Etty paintings.{{sfn|Burnage|2011e|p=241}} This included the first public showing of ''Venus and her Doves'', which had been commissioned by Daniel Grant.{{sfn|Farr|1958|p=76}} Although the exhibition broke even it met with little public interest, and no further Etty [[retrospective exhibition|retrospectives]] were held for some years.{{sfn|Farr|1958|p=76}} Harper did take the opportunity to buy Etty's ''A Family of the Forest'' (also known as ''Flowers of the Forest''), which had failed to sell at the 1836 Summer Exhibition.{{sfn|Farr|1958|p=76}} ''A Family of the Forest'' illustrates a passage from the Ancient Greek poem ''[[Theogony]]'', dealing with the Golden Age before humanity suffered pain, misery or the need to work.{{sfn|Burnage|2011b|p=136}} The setting sun in the background and the man looking away from the woman and child, and instead into the distance, signify his knowledge that his days of ease are coming to an end.{{sfn|Burnage|2011b|p=111}}

By this time, Etty was becoming conflicted religiously. Although he had been raised as a Methodist,{{sfn|Farr|1958|p=5}} following [[Roman Catholic Relief Act 1829|Catholic emancipation]] in 1829 Etty became increasingly drawn to [[Catholic Church|Catholicism]].{{sfn|Farr|1958|p=80}} Although he considered himself "in [my] heart's core deeply and sincerely of the Ancient Faith",{{sfn|Farr|1958|p=80}} he refused formally to convert to Catholicism owing to concerns that it would upset his family and friends, worries that he would be denied access to Anglican buildings such as York Minster, and a distaste for the concept of [[Confession (religion)|auricular (spoken) confession]].{{sfn|Farr|1958|pp=80–81}} He remained closely associated with Catholicism throughout his later life, and was one of the few non-Catholics to attend the 1838 opening of [[Augustus Pugin]]'s chapel for [[St Mary's College, Oscott]], at the time the most important Catholic building in England.{{sfn|Farr|1958|p=101}}

===''The Sirens and Ulysses''===
{{main article|The Sirens and Ulysses}}
[[File:The Sirens and Ulysses by William Etty, 1837.jpg|right|upright=1.8|thumb|''[[The Sirens and Ulysses]]'' (1837, restored 2010)]]
Also in 1836 Etty began work on ''[[The Sirens and Ulysses]]'',{{sfn|Farr|1958|p=78}} which he considered among his greatest works, and which is his largest surviving painting.<ref name="MAGmasterpiece">{{cite web|url=http://www.manchestergalleries.org/salvaged/the-painting/ettys-masterpiece/index.html |title=Etty's masterpiece |publisher=Manchester Art Gallery |access-date=10 February 2015 |url-status=dead |archive-url=https://web.archive.org/web/20150211030955/http://www.manchestergalleries.org/salvaged/the-painting/ettys-masterpiece/index.html |archive-date=11 February 2015 }}</ref> Measuring 442.5&nbsp;cm by 297&nbsp;cm (14&nbsp;ft 6&nbsp;in by 9&nbsp;ft 9&nbsp;in) ''Sirens'' was based on a passage from [[Homer]]'s ''[[Odyssey]]'' in which sailors resist the irresistible song of the [[Siren (mythology)|Sirens]].<ref name="MAG Tale">{{cite web|url=http://www.manchestergalleries.org/salvaged/the-painting/the-tale-of-ulysses/index.html |title=The tale of Ulysses |publisher=Manchester Art Gallery |access-date=10 February 2015 |url-status=dead |archive-url=https://web.archive.org/web/20150211030418/http://www.manchestergalleries.org/salvaged/the-painting/the-tale-of-ulysses/index.html |archive-date=11 February 2015 }}</ref> The theme and scale of the painting were probably suggested to Etty by Thomas Myers, who had been encouraging Etty to paint very large canvases.{{sfn|Robinson|2007|p=189}} Myers's suggested theme appealed to Etty, who later wrote that it illustrated "the importance of resisting ''Sensual Delights''".{{sfn|Farr|1958|p=11}} Etty made every effort to ensure realism in the picture, going as far as to visit mortuaries to sketch corpses in varying stages of decay to ensure the accuracy of the cadavers on the beach.<ref name="MAGmasterpiece" />

When Etty completed ''Sirens'' in 1837, it was one of the main attractions at the 1837 Summer Exhibition, the first to be held in the Royal Academy's new building in [[Trafalgar Square]] (now part of the [[National Gallery]]).{{sfn|Farr|1958|p=78}} The painting, with its juxtaposition of male and female nudity and decaying corpses, immediately divided opinion.{{sfn|Farr|1958|p=78}} Some critics considered it one of the finest artworks ever made, with ''The Gentleman's Magazine'' particularly taken with the work, describing ''Sirens'' as "a historical work of the first class" and "by far the best that Mr. Etty ever painted".<ref>{{cite journal|date=June 1837|title=Fine Arts: Exhibition of the Royal Academy|journal=The Gentleman's Magazine|publisher=J. B. Nichols and Son|location=London|volume=161|page=628}}</ref> Other critics were less kind; ''[[The Spectator]]'' considered it "a disgusting combination of voluptuousness and loathsome putridity—glowing in colour and wonderful in execution, but conceived in the worst possible taste".<ref>{{cite journal|date=6 May 1837|title=Fine Arts: Exhibition of the Royal Academy{{snd}}Opening of the new National Gallery|journal=The Spectator|publisher=Joseph Clayton|location=London|volume=10|issue=462|page=427}}</ref>

[[File:William Etty at the Life Class by William Holman Hunt YORAG R3257-1 crop.jpg|left|thumb|''William Etty at the Life Class'', [[William Holman Hunt]], 1840s|alt=balding man sketching a naked figure]]
Possibly because of its size, ''The Sirens and Ulysses'' failed to sell at the Summer Exhibition.{{sfn|Robinson|2007|p=229}} In October 1837 Etty met again with Daniel Grant who, without having seen the painting, offered £250 (about £{{formatnum:{{Inflation|UK|250|1837|r=-3}}|0}} in today's terms{{Inflation-fn|UK|df=y}}) for ''Sirens'' and for ''Samson and Delilah'', also exhibited by Etty that year.{{sfn|Robinson|2007|p=282}} Etty, poor at business and always reluctant to keep unsold paintings in his studio, sold both paintings to Grant for well below their true worth.{{sfn|Farr|1958|p=79}}{{efn-ua|Shortly after buying ''Sirens'' and ''Samson'' Grant died and left the paintings to his brother William, who in turn donated them to the [[Royal Manchester Institution]] in 1839.<ref name="MAGmasterpiece" />}} Etty had used a strong glue as a [[sizing|paint stabiliser]] which flaked when dry, and as soon as it was complete ''Sirens'' began to deteriorate.<ref name="MAG The Project">{{cite web|url=http://www.manchestergalleries.org/salvaged/the-project/index.html |title=Salvaged: The Project |publisher=Manchester Art Gallery |access-date=10 February 2015 |url-status=dead |archive-url=https://web.archive.org/web/20150211024803/http://www.manchestergalleries.org/salvaged/the-project/index.html |archive-date=11 February 2015 }}</ref> It was shown at the 1857 [[Art Treasures Exhibition, Manchester 1857|Art Treasures Exhibition]] but then considered in too poor a condition for further public display, and placed in long-term storage in the archives of the [[Royal Manchester Institution]] and its successor, the [[Manchester Art Gallery]].<ref name="MAGmasterpiece" /> In 2006 restoration began on it, and in May 2010 ''Sirens'' was returned to public display and is now one of the key works in the Manchester Art Gallery.<ref name="MEN">{{cite news|url=http://www.manchestereveningnews.co.uk/news/greater-manchester-news/sirens-beauty-restored-955560|title=Sirens' beauty restored|date=18 April 2010|work=Manchester Evening News|publisher=M.E.N. Media|access-date=10 February 2015}}</ref>

===Decline===
[[File:The Wrestlers by William Etty YORAG 89.JPG|right|upright|thumb|''[[The Wrestlers (Etty)|The Wrestlers]]'' ({{circa|1840}}). Even as a highly acclaimed artist in his 50s, Etty continued to attend life classes.]]
After ''Sirens'', Etty's output remained as high as ever, with seven paintings exhibited at the 1838 Summer Exhibition,{{sfn|Burnage|Bertram|2011|p=25}} but the quality of his work is generally considered to have gone into decline.{{sfn|Farr|1958|p=83}} By 1838 critics began to comment that Etty's paintings were no longer inventive but simply reworkings of his earlier paintings,{{sfn|Farr|1958|p=83}} while in June of that year [[William Makepeace Thackeray]] (under the pen name of Michael Angelo Titmarsh) wrote that {{nowrap|"[Etty]}} is, like great men, lazy, or indifferent, perhaps, about public approbation".<ref>{{cite journal|last=Titmarsh|first=Michael Angelo|author-link=William Makepeace Thackeray|date=June 1838|title=Strictures on Pictures|journal=Fraser's Magazine|publisher=James Fraser|location=London|volume=XVII|issue=102|page=763}}</ref> By 1839, criticisms of Etty were being raised in even those newspapers and journals which had previously championed his work.{{sfn|Farr|1958|p=86}} A new type of criticism of Etty also began to appear in 1839, from a new generation led by ''[[The Art Journal|The Art Union]]'', who praised Etty's technical abilities but saw his choice of subjects as out of touch and anachronistic,{{sfn|Farr|1958|p=86}} and "very frequently doing as little good for mankind as the priest who preaches his sermon in Latin".<ref>{{cite journal|date=15 May 1839|title=The Royal Academy: The Seventy-first Exhibition|journal=The Art Union|publisher=William Thomas|location=London|volume=1|issue=4|page=68}}</ref>

[[File:Etty – Dead Pheasant & Fruit.jpeg|left|upright|thumb|''Dead Pheasant and Fruit'' ({{circa|1839}})|alt=dead bird lying next to a piece of fruit]]
[[File:Somnolency - William Etty - ABDAG003408.jpg|thumb|''Somnolency'' (1838), Aberdeen Archives, Gallery & Museums]]
From around this time onwards, while Etty still held to his belief that the purpose of art is to illustrate moral lessons, he began to abandon the literary, religious and mythological themes which had dominated his work.{{sfn|Farr|1958|pp=86–87}} He began to paint [[still life]]s, beginning with ''Pheasant and Peach'' (likely to be the painting now called ''Dead Pheasant and Fruit''); in the 1840s he exhibited six in total, and painted many more. Etty was the first English painter to paint significant still lifes,<!--Mary Moser (1744–1819)?--> which at the time were thought by the English a primarily Netherlandish form.{{sfn|Farr|1958|p=87}}{{additional citation needed|date=June 2025}} Also for the first time, he began to paint a significant number of landscape paintings.{{sfn|Farr|1958|p=92}} Etty still continued to paint history paintings, but while he continued to produce highly acclaimed reworkings of his previous pictures, those works on fresh topics were generally poorly received.{{sfn|Farr|1958|p=88}} Etty's decline in quality can possibly be attributed in part to London art dealers; from 1835 dealer Richard Colls had become increasingly close to Etty, and by 1844 had a near-monopoly on his work.{{sfn|Farr|1958|p=83}} As the importance of the landed gentry to the art market declined, the new purchasers of art were industrialists; generally lacking in a classical education and with little interest in Old Masters, they preferred to buy works by then-contemporary artists such as Etty, and relied on dealers to advise them.{{sfn|Farr|1958|p=95}}

In May 1840, Etty made the trip to [[Brussels]] and [[Antwerp]] which he had been forced by revolution to abandon in 1830. He intended to study the works of Rubens, but the briefness of his tour—in the company of Betsy Etty he visited [[Ostend]], [[Bruges]], Antwerp, Brussels, [[Aachen]], [[Cologne]], [[Bonn]] and [[Rotterdam]] in the course of ten days—meant he had little time for study.{{sfn|Farr|1958|p=89}} The following year he returned to Antwerp and [[Mechelen]] for a longer visit to visit [[St. Rumbold's Cathedral]] and to study the substantial collections of Rubens paintings in the two cities.{{sfn|Burnage|Bertram|2011|p=26}} On this second journey he twice visited a [[Trappists|Trappist]] monastery outside Antwerp, staying overnight on one visit, and bought a Trappist [[Religious habit|habit]]; he also bought a [[Order of Friars Minor Capuchin|Capuchin]] habit from a monastery in Bruges.{{sfn|Farr|1958|pp=91–92}} These acquisitions prompted paintings on monastic themes over subsequent years.{{sfn|Farr|1958|p=92}}

[[File:Portrait of Mlle Rachel by William Etty YORAG 988.jpg|right|upright|thumb|''[[Portrait of Mlle Rachel]]'' ({{circa|1841}}) Etty probably met the celebrated French actress [[Rachel Félix|Madamoiselle Rachel]] through William Macready.{{sfn|Farr|1958|p=92}}]]
Despite a perceived decline in his work's quality, the 1840s were the most financially successful of Etty's career. His income increased with further opportunities for patronage from a growing industrial class, and with few costs and all his earlier debts cleared, Etty was in a position to invest money for the first time. By 1841 Etty had around £300 invested, rising to £8500 in 1845 and £17,000 in 1849.{{efn-ua|In modern terms, Etty's savings roughly equate to £{{formatnum:{{Inflation|UK|300|1841|r=-3}}|0}} in 1841, £{{formatnum:{{Inflation|UK|8500|1845|r=-4}}|0}} in 1845, and £{{formatnum:{{Inflation|UK|17000|1849|r=-5}}|0}} at the time of his death in November 1849.{{Inflation-fn|UK|df=y}}}} He continued to have difficulty forming relationships with any woman other than Betsy Etty, writing in his diary in 1843 that "being in sound Mind and Body I declare it to be my ''Firm Intention'' NEVER TO MARRY. In which resolution I pray GOD to help me that I may devote myself purely to my Art, my Country, and my GOD!"{{sfn|Farr|1958|p=22}}

In May 1843, Etty was one of eight artists chosen by [[Albert, Prince Consort|Prince Albert]] to paint [[fresco]]es on the theme of Milton's ''[[Comus (John Milton)|Comus]]'' for a new pavilion being built in the grounds of [[Buckingham Palace]]. Etty was unhappy with his selection, as fresco was a medium with which he had no experience, but reluctantly did so, choosing to paint on the theme of ''Circe and the Sirens Three''.{{sfn|Farr|1958|p=96}} The result was a disaster. Etty found himself unable to retouch or alter his existing work, as any freshly applied paint would flake away from the existing paint layer, and the [[lunette]] shape of the panel left Etty with a large empty space above the central figures.{{sfn|Farr|1958|p=96}} Etty's fresco was deemed unsalvageable, and although he offered to paint a replacement on the theme of ''Hesperus'' he was rejected, and [[William Dyce]] was commissioned to paint a replacement fresco. Etty was paid only a token £40 fee.{{sfn|Farr|1958|p=97}}

[[File:Givendale Church YORAG-78.jpg|left|thumb|''Givendale Church'' (1843). In the 1840s Etty began painting landscapes for the first time.]]
The perceived lack of respect shown to one of England's leading artists led to some outcry, and attacks in the press upon the then very unpopular Albert;{{sfn|Farr|1958|p=97}} William Makepeace Thackeray wrote in 1845: "Think of the greatest patronage in the world giving forty pounds for pictures worth four hundred—condescending to buy works from humble men who could not refuse, and paying for them below their value! Think of august powers and principalities ordering the works of such a great artist as Etty to be hacked out of the palace-wall! That was a slap in the face to every artist in England."<ref>{{cite book|last=Thackeray|first=William Makepeace|author-link=William Makepeace Thackeray|title=Miscellanies |volume=V|year=1870|publisher=Fields, Osgood, & Co.|location=Boston, MA|page=240|chapter=Titmarsh Among Pictures and Books}}</ref>

In August 1843, during a break from his work on the fresco, Etty made what was to prove his final overseas journey. Since 1839 he had been planning a series of monumental paintings of [[Joan of Arc]],{{sfn|Farr|1958|p=88}} and he wanted to visit places associated with her.{{sfn|Farr|1958|p=98}} Setting out on 16&nbsp;August he spent two weeks touring sites in Rouen, Paris and [[Orléans]] associated with her life.{{sfn|Farr|1958|p=98}} Unlike Etty's disastrous prior visits to France, this journey passed without incident, and he found that he actually was coming to enjoy certain aspects of French living.{{sfn|Farr|1958|p=98}}

====''Musidora'' and ''Joan of Arc''====
[[File:Etty – Musidora- The Bather 'At the Doubtful Breeze Alarmed'.jpg|right|upright|thumb|''[[Musidora: The Bather 'At the Doubtful Breeze Alarmed']]'' (1843, this version painted 1844, exhibited 1846) was arguably Etty's last significant history painting.|alt=Naked woman standing in a stream]]

In the same year, Etty painted the first version of ''[[Musidora: The Bather 'At the Doubtful Breeze Alarmed']]'', an illustration from the poem ''[[The Seasons (Thomson)|Summer]]'' by [[James Thomson (poet, born 1700)|James Thomson]] and arguably Etty's last history painting painted while he still had all his powers.{{sfn|Farr|1958|p=100}}{{efn-ua|Four versions of ''Musidora'' exist, all identical in composition, although the landscape background varies slightly.{{sfn|Farr|1958|pp=100–01}} One of the paintings is of poorer quality, and may be a later copy by a student.{{sfn|Farr|1958|p=150}} The best known version is that now in [[Tate Britain]], painted in 1844 and probably first exhibited at the [[British Institution]] in 1846.{{sfn|Farr|1958|p=100}}{{sfn|Burnage|2011b|p=149}}}} ''Musidora'' shows a scene in which the titular character, having removed the last of her clothes, steps into "the lucid coolness of the flood" to "bathe her fervent limbs in the refreshing stream", unknowing that she is being watched by her suitor Damon.{{sfn|Burnage|2011b|p=148}} Etty's composition is shown from the viewpoint of Damon; by so doing Etty aimed to induce the same reactions in the viewer as Damon's dilemma as described by Thomson; that of whether to enjoy the spectacle despite knowing it to be inappropriate, or to follow the accepted morality of the time and look away, in what art historian Sarah Burnage has described as "a titillating moral test for spectators to both enjoy and overcome".{{sfn|Burnage|2011b|p=149}} ''Musidora'' met with almost universal acclaim, compared favourably to Titian and Rembrandt,{{sfn|Burnage|2011b|p=149}}<ref>{{cite journal|date=June 1843|title=Exhibition of the Royal Academy|journal=The Court Magazine and Monthly Critic|issue=14|publisher=William Syme|location=London|volume=9|page=151}}</ref> and described by ''[[The Critic (former British magazine)|The Critic]]'' as "a preeminent work" and "the triumph of the British school".{{sfn|Burnage|2011b|p=149}}

By the time ''Musidora'' was exhibited, Etty's health was in serious decline.{{sfn|Farr|1958|p=100}} Suffering severe asthma, it was not unusual for passers-by to accuse him of drunkenness as he made his way wheezing through the London streets,{{sfn|Farr|1958|p=61}} and he was beginning to plan his retirement from polluted London to his beloved York.{{sfn|Farr|1958|p=101}} Abandoning the smaller paintings which kept him profitable, he strived to complete his ''Joan of Arc'' [[triptych]] before his health gave out. This was on a huge scale, 28&nbsp;ft (8.5&nbsp;m) in total width and 9&nbsp;ft 9&nbsp;in (3&nbsp;m) high; the three pictures from left to right depicted Joan devoting herself to the service of God and her country, Joan scattering the enemies of France, and Joan dying a martyr.{{sfn|Farr|1958|p=102}}{{efn-ua|Etty's full titles for the three ''Joan'' paintings were ''Joan of Arc, on finding the sword she had dreamt of, in the church of St. Catherine de Fierbois, devotes herself and it to the service of God and her country'' for the left panel, ''Joan of Arc makes a sortie from the gates of Orleans, and scatters the enemies of France'' for the central piece, and ''Joan of Arc, after rendering the most signal services to her Prince and people, is suffered to die a martyr in their cause'' for the right panel.{{sfn|Farr|1958|p=102}} The left hand panel is shown in {{harvnb|Robinson|2007|page=317}}.}}
<gallery>
File:Joan of Arc Panel 1.jpg|Joan of Arc, On finding in the church of St Catherine de Frébus the sword she dreamt of, devotes herself & it to the service of God & her country. 
File:William Etty - Jeanne dArc.jpg|''Joan of Arc makes a sortie from the gates of Orleans, and scatters the enemies of France''
File:Joan of Arc LCCN2003678033.tif|Joan of Arc, after rendering the most signal services to her Prince and people, is suffered to die a martyr in their cause".  C.W Wass {another version is 1849 engraving of the third panel from "The Penny Illustrated News" December 1, 1849 Vol 1, Issue 6 .p.&nbsp;45"<ref>[https://www.loc.gov/pictures/item/2003678033/ Another version of a C.W. Wass engraving can be found on the Library of Congress website]</ref>
</gallery>

Etty sold the triptych for the huge sum of 2500&nbsp;guineas (about £{{formatnum:{{Inflation|UK|2625|1847|r=-4}}|0}} in {{inflation/year|UK}} terms{{Inflation-fn|UK|df=y}}) to dealer Richard Colls and the engraver C. W. Wass.{{sfn|Farr|1958|p=103}} Colls and Wass had ambitious plans to recoup their money by selling engravings of the pictures and by taking the paintings on a tour of Britain and Europe. The paintings proved less popular than expected. Very few engravings were sold and the tours did not take place; Wass declared bankruptcy in 1852.{{sfn|Farr|1958|p=103}} The paintings were separated, and sold on to a series of buyers, with the third panel fetching just 7{{frac|1|2}}&nbsp;guineas in 1893 as Etty's popularity continued to wane.{{sfn|Farr|1958|pp=134–35}} By the 1950s all three panels of ''Joan of Arc'' were believed lost or destroyed,{{sfn|Farr|1958|p=135}} although some preliminary studies survive.{{sfn|Farr|1958|pp=134–35}}<ref>A study by Eddy of "Joan of Arc" can be found online at the [https://artuk.org/discover/artworks/study-for-joan-of-arc-8146/search/makers:william-etty-17871849/page/2 ArtUK website].</ref> The first panel which showed Joan of Arc finding the sword in the church of St. Catherine de Fierbois ended up in the collection of Llantarnam Abbey, Cwmbran, South Wales [In 2021 the panel was sold at auction by Bonhams]. The second panel is in the collection of the Musée des Beaux-Arts d'Orléans.<ref>{{cite book|first=James|last=Hamilton|year=2015|title=A Strange Business: Art, Culture, and Commerce in Nineteenth Century London|publisher=Pegasus|location=New York|isbn=978-1-60598-870-2|page=341}}</ref> The third panel has since been lost.

===Retrospective and death===
[[File:The Fishponds, Givendale YORAG-79.jpg|left|thumb|''Fishponds, Givendale'' (1848)|alt=Family of ducks on a pond, with trees behind]]
Following the completion of ''Joan of Arc'', Etty's health continued to deteriorate. He continued to paint and exhibit, but his retirement plans grew firmer. In April 1846 he bought a house in [[Coney Street]], central York, as a retirement home,{{sfn|Farr|1958|p=106}} and in December 1847 he formally resigned from the Council of the Royal Academy.{{sfn|Farr|1958|p=105}} Following structural alterations to give him a better view of the river, Etty moved into the house in June 1848, completing the move in September, although he retained his London apartments.{{sfn|Farr|1958|p=106}} His move from London caused some consternation among that city's models, who were losing one of their most regular customers, as well as concerns from Etty who was worried that working with nude models might cause a scandal in York.{{sfn|Farr|1958|pp=106–07}}

He continued to exhibit, sending seven paintings to that year's Summer Exhibition, but they drew little interest, although the lack of nudes was applauded by some reviewers.{{sfn|Farr|1958|p=106}} By this time, Robert Vernon's bequest of his collection to the nation had led to eleven Etty paintings going on public display in the cellars of the National Gallery.{{sfn|Farr|1958|p=106}} In late 1848 he wrote a brief autobiography, published the following year in ''The Art Journal'', in which he staunchly defended himself against the accusations of pornography which had been levelled at him throughout his life:
{{blockquote|As a worshipper of beauty, whether it be seen in a weed, a flower, or in that most interesting form to humanity, lovely woman, in intense admiration of it and its ''Almighty Author'', if at any time I have forgotten the boundary line that I ought not to have passed, and tended to voluptuousness, I implore His pardon; I have never wished to seduce others from that path and practice of virtue, which alone leads to happiness here and hereafter; and if in any of my pictures an immoral sentiment has been aimed at, I consent it should be burnt; but I never recollect being actuated in painting my pictures by such sentiment. That the female form, in its fulness, beauty of colour, exquisite rotundity, may, by being portrayed in its nudity, awake like nature in some degree an approach to passion, I must allow, but where no immoral sentiment is ''intended'', I affirm that the simple undisguised naked figure is innocent. "To the pure in heart all things are pure."<ref name="Autobiography" />}}

[[File:Etty – Crochet Worker.jpg|right|upright|thumb|Study for ''The Crochet Worker'' (1849). The final work (now lost) was one of the last pieces completed by Etty and was exhibited in his final Summer Exhibition. It shows his great-niece Mary Ann Purdon.{{sfn|Burnage|2011e|p=243}}|alt=young woman holding a knitting needle, intently looking at a piece of cloth in her hands]]
In 1849, the [[Royal Society of Arts]] decided to organise a retrospective exhibition of Etty's work, the first since the minor York exhibition of 1836. Etty agreed only on condition that all nine of his large works were included. The three ''Joan of Arc'' paintings were in London and easily accessible, and the Royal Scottish Academy was happy to lend ''The Combat'', ''Benaiah'' and the ''Judith'' triptych, but the Royal Manchester Institution was deeply reluctant to lend ''The Sirens and Ulysses'' in light of concerns that transporting it would damage the fragile paintwork further.{{sfn|Farr|1958|p=107}} They were eventually persuaded to lend the piece after Etty and some of his friends visited Manchester to personally request they release it.{{sfn|Robinson|2007|p=408}} The exhibition went ahead from 9&nbsp;June to 25&nbsp;August 1849, bringing together 133 Etty paintings for the first time;{{sfn|Farr|1958|p=107}} Etty hoped that it would raise public awareness of his abilities, writing to his friend Rev. Isaac Spencer "Please God, I will give them a taste of my quality".{{sfn|Burnage|Hallett|2011|p=12}} The exhibition was well received and well attended; even Etty's old adversaries at the ''Morning Chronicle'' recommending that readers "lose no time in visiting this collection".{{sfn|Burnage|Hallett|2011|p=12}} It was a financial disaster for the Royal Society of Arts, faced with the cost of transporting large numbers of delicate artworks from around the country.{{sfn|Farr|1958|p=107}}

During the exhibition Etty suffered a serious bout of [[rheumatic fever]]. Exhausted by illness and the stress of the exhibition, when the exhibition was complete he returned to York in very poor health. On 3&nbsp;November 1849 he suffered a serious asthma attack, thought to have been made worse by his neglecting to wear his flannel undershirt the night before. His condition deteriorated rapidly, and by 10&nbsp;November he was bedridden. On Tuesday 13&nbsp;November, watching the sun set over the [[River Ouse, Yorkshire|River Ouse]], he was heard to say "Wonderful! Wonderful! This death!"{{sfn|Farr|1958|p=108}} Later that night, Betsy Etty wrote to Joseph Gillott that "Uncle paid the last debt to nature at {{frac|1|4}} past Eight {{notatypo|oclock}} tonight. I do not know what to do. I am almost broken hearted. I have lost my best friend. I {{sic|now}} not what to do. I can say no more."{{sfn|Robinson|2007|p=475}}

==Legacy==
Etty had planned for a burial in York Minster, but neglected to cover the necessary costs in his will. With Yorkshire local government in political and financial chaos in the wake of the bankruptcy of [[George Hudson]], there was no political will to organise a public subscription or to waive the fees, and as a consequence Etty was buried in the churchyard of [[St Olave's Church, York|St Olave's Church]], his local parish church.{{sfn|Farr|1958|p=108}} On 6&nbsp;May 1850 the contents of his studio were auctioned, in a total of 1034 lots including around 900 paintings;{{sfn|Farr|1958|p=108}} some of these paintings were incomplete studies later completed by other artists to increase their value.{{sfn|Burnage|2011c|p=222}} In the years following his death Etty's work became highly collectable, his works fetching huge sums on resale.{{sfn|Robinson|2007|p=440}} He continued to be regarded as a pornographer by some, with [[Charles Robert Leslie]] observing in 1850 "It cannot be doubted that the voluptuous treatment of his subjects, in very many instances, recommended them more powerfully than their admirable art; while we may fully believe that he himself, thinking and meaning no evil, was not aware of the manner in which his works were regarded by grosser minds".<ref>{{cite journal|last=Leslie|first=Charles Robert|date=30 March 1850|title=Lecture on the Works of the late W. Etty, Esq, R.A., by Professor Leslie|journal=The Athenæum|location=London|issue=1170|page=352}}</ref>

Six months after William's death, Betsy Etty married chemist Stephen Binnington, a distant relation of the Etty family. She moved into his house in [[Haymarket, London|Haymarket]], and some time after his death moved to 40 [[Edwardes Square]], where she died in 1888 at the age of 87.{{sfn|Robinson|2007|p=476}}

[[File:John Everett Millais Cymon and Iphigenia.jpg|left|thumb|''[[Cymon and Iphigenia (Millais)|Cymon and Iphigenia]]'', [[John Everett Millais]] (1848). Millais's early works were strongly influenced by Etty.{{sfn|Smith|1996|p=90}}|alt=Savege in a leopardskin and a woman in a wedding dress, surrounded by young women in various stages of undress]]
While Etty did have admirers, the patchy quality of his later work meant that he never acquired the circle of imitators and students that could have led to him being seen as the founder of the English realist movement, now considered to have begun in 1848 with the formation of the [[Pre-Raphaelite Brotherhood]]. [[William Holman Hunt]] and [[John Everett Millais]], two of the three founders of the Pre-Raphaelites, were heavily influenced by Etty's early works but recoiled from his later style. Holman Hunt recollected that "in my youth [Etty] had lost the robustness he once had [...] the paintings of his advanced age cloyed the taste by their sweetness".{{sfn|Farr|1958|p=109}} Millais had consciously modelled his style on Etty, and his works prior to the formation of the Pre-Raphaelites are very similar in composition, but after 1848 the only similarity in style is the use of colour.{{sfn|Farr|1958|p=109}} As Pre-Raphaelitism waned Millais's style became more varied, and some of his later work such as ''The Knight Errant'' owes a strong debt to Etty's influence.{{sfn|Smith|1996|p=149}}

[[File:Una Alarmed.jpg|right|thumb|''Una Alarmed by Fauns'', [[William Edward Frost]] (1843, lithograph by [[Thomas Herbert Maguire]] 1847). Frost was one of the few English painters to continue to work in Etty's style in the decades following his death.|alt=Startled looking scantily clad woman, surrounded by nude half-humans]]
During his life Etty had acquired followers such as Irish painters [[William Mulready]] and [[Daniel Maclise]], but both rejected Etty's preoccupation with nudes.{{sfn|Robinson|2007|p=431}} Mulready painted nudes but became best known for domestic [[genre art|genre paintings]],{{sfn|Robinson|2007|p=432}} while Maclise chose to specialise in more traditional history paintings and exhibited only one nude work in his career.{{sfn|Robinson|2007|p=431}} One of the few painters who consciously attempted to continue Etty's style after his death was [[William Edward Frost]], who had been an acquaintance of Etty's since 1825.{{sfn|Robinson|2007|p=433}} In the early 1830s Frost painted on commission for Thomas Potts (whose 1833 commission of Etty to paint his daughter Elizabeth's portrait had been Etty's first significant portrait commission), and later was commissioned on Etty's recommendation to paint a portrait of Etty's cousin Thomas Bodley.{{sfn|Robinson|2007|p=433}} Frost successfully imitated Etty throughout his career, to the extent that his figure studies and Etty's are often misattributed to each other.{{sfn|Robinson|2007|p=435}} Although Frost eventually became a Royal Academician in 1870, by this time Etty's style of painting had badly fallen out of fashion.{{sfn|Robinson|2007|p=435}}

[[File:Statue of William Etty, York 3.jpg|left|thumb|upright|G. W. Milburn's 1911 statue of Etty, Exhibition Square, York<ref>{{NHLE|num=1257854|desc=Statue of William Etty|grade=II|access-date=3 April 2017}}</ref>|alt=Statue of a standing man in a smock, holding a palette]]
[[Victorian painting]] had gone through radical changes, and by the 1870s the realism of Etty and the Pre-Raphaelites had given way to the ideas of the [[Aesthetic Movement]], abandoning the traditions of storytelling and moralising in favour of painting works designed for aesthetic appeal rather than for their narrative or subject.{{sfn|Warner|1996|p=26}} Although the aesthetic movement ultimately led to a brief revival of history painting, these works were in a very different style to Etty's. The new generation of history painters such as [[Edward Burne-Jones]], [[Lawrence Alma-Tadema]] and [[Frederic Leighton, 1st Baron Leighton|Frederic Leighton]] sought to depict passivity, rather than the dynamism seen in previous works depicting the classical world.{{sfn|Warner|1996|p=35}} By the end of the 19th century, the value of all of Etty's works had fallen below their original prices.{{sfn|Robinson|2007|p=440}} As the 20th century began, the increasingly influential [[modernism|Modernist movement]], which came to dominate British art in the 20th century, drew its inspiration from [[Paul Cézanne]] and had little regard for 19th-century British painting.{{sfn|Warner|1996|p=11}}

In 1911 the city of York belatedly recognised Etty. A statue of Etty by G. W. Milburn was unveiled on 1&nbsp;February outside the [[York Art Gallery]] in [[Exhibition Square]],{{sfn|Robinson|2007|p=445}} and a retrospective of 164 Etty paintings was held at the gallery despite opposition from some of Etty's descendants who refused to lend works for it.{{sfn|Robinson|2007|p=444}} William Wallace Hargrove, proprietor of the ''York Herald'', gave a speech recalling his memories of knowing Etty.{{sfn|Robinson|2007|p=445}} Outside York, Etty generally remained little-known, with the majority of those galleries holding his works, other than the [[Lady Lever Art Gallery]], the [[Russell-Cotes Art Gallery & Museum|Russell-Cotes Museum]] and [[Anglesey Abbey]], tending to keep them in storage.{{sfn|Robinson|2007|p=445}}{{sfn|Smith|2001b|p=53}}{{efn-ua|[[William Lever, 1st Viscount Leverhulme|Lord Leverhulme]], [[Merton Russell-Cotes|Sir Merton Russell-Cotes]] and [[Urban Huttleston Broughton, 1st Baron Fairhaven|Lord Fairhaven]], founders of the Lady Lever Art Gallery, the Russell-Cotes Museum and the art collection of Anglesey Abbey respectively, were great admirers of Etty. Their collections were acquired long after Etty had fallen out of fashion, and they were consequently able to buy several significant Etty paintings at very low prices.{{sfn|Smith|2001b|p=53}}{{sfn|Robinson|2007|pp=447–48}}}} Minor Etty exhibitions in London in 1936 and 1938 had little impact,{{sfn|Robinson|2007|pp=448–49}} and likewise an exhibition of 30 Etty paintings in 1948 to mark the reopening of the York Art Gallery and another York exhibition of 108 paintings the following year to mark the centenary of his death.{{sfn|Robinson|2007|p=451}} In 2001–02 five Etty paintings were included in [[Tate Britain]]'s landmark ''Exposed: The Victorian Nude'' exhibition, which did much to raise Etty's profile,{{sfn|Robinson|2007|p=453}}{{efn-ua|The five paintings exhibited were ''[[Youth on the Prow, and Pleasure at the Helm|Youth and Pleasure]]'', ''[[Britomart Redeems Faire Amoret]]'', ''[[Musidora: The Bather 'At the Doubtful Breeze Alarmed'|Musidora]]'', ''[[The Wrestlers (Etty)|The Wrestlers]]'' and ''[[Candaules, King of Lydia, Shews his Wife by Stealth to Gyges, One of his Ministers, as She Goes to Bed|Candaules]]''.{{sfn|Smith|2001a|p=133}}{{sfn|Smith|2001a|pp=56–61}}}} and established Etty as "the first British artist to paint the nude with both seriousness and consistency".{{sfn|Smith|2001a|p=57}} The restoration of ''The Sirens and Ulysses'', completed in 2010, led to increased interest in Etty,<ref name="MEN" /> and in 2011–12 a major exhibition of Etty's works was held at the York Art Gallery.{{sfn|Turner|2011a|p=9}} The York Art Gallery continues to hold the largest collection of Etty's works.{{sfn|Turner|2011a|p=10}}

==Footnotes==
{{notelist-ua}}

==References==

===Notes===
{{Reflist|colwidth=25em}}

===Bibliography===
* {{cite book|last1=Burnage|first1=Sarah|editor-last1=Burnage|editor-first1=Sarah|editor-last2=Hallett|editor-first2=Mark|editor-last3=Turner|editor-first3=Laura|title=William Etty: Art & Controversy|year=2011a|chapter=Etty and the Masters|pages=154–97|publisher=Philip Wilson Publishers|location=London|isbn=978-0-85667-701-4|oclc=800599710}}<!-- This is not an error—the book contains two different chapters called "Etty and the Masters", by two different people -->
* {{cite book|last1=Burnage|first1=Sarah|editor-last1=Burnage|editor-first1=Sarah|editor-last2=Hallett|editor-first2=Mark|editor-last3=Turner|editor-first3=Laura|title=William Etty: Art & Controversy|year=2011b|chapter=History Painting and the Critics|pages=106–54|publisher=Philip Wilson Publishers|location=London|isbn=978-0-85667-701-4|oclc=800599710}}
* {{cite book|last1=Burnage|first1=Sarah|editor-last1=Burnage|editor-first1=Sarah|editor-last2=Hallett|editor-first2=Mark|editor-last3=Turner|editor-first3=Laura|title=William Etty: Art & Controversy|year=2011c|chapter=The Life Class|pages=198–227|publisher=Philip Wilson Publishers|location=London|isbn=978-0-85667-701-4|oclc=800599710}}
* {{cite book|last1=Burnage|first1=Sarah|editor-last1=Burnage|editor-first1=Sarah|editor-last2=Hallett|editor-first2=Mark|editor-last3=Turner|editor-first3=Laura|title=William Etty: Art & Controversy|year=2011d|chapter=Painting the Nude and 'Inflicting Divine Vengeance on the Wicked'|pages=31–46|publisher=Philip Wilson Publishers|location=London|isbn=978-0-85667-701-4|oclc=800599710}}
* {{cite book|last1=Burnage|first1=Sarah|editor-last1=Burnage|editor-first1=Sarah|editor-last2=Hallett|editor-first2=Mark|editor-last3=Turner|editor-first3=Laura|title=William Etty: Art & Controversy|year=2011e|chapter=Portraiture|pages=228–50|publisher=Philip Wilson Publishers|location=London|isbn=978-0-85667-701-4|oclc=800599710}}
* {{cite book|last1=Burnage|first1=Sarah|last2=Bertram|first2=Beatrice|editor-last1=Burnage|editor-first1=Sarah|editor-last2=Hallett|editor-first2=Mark|editor-last3=Turner|editor-first3=Laura|title=William Etty: Art & Controversy|year=2011|chapter=Chronology|pages=20–30|publisher=Philip Wilson Publishers|location=London|isbn=978-0-85667-701-4|oclc=800599710}}
* {{cite book|last1=Burnage|first1=Sarah|last2=Hallett|first2=Mark|editor-last1=Burnage|editor-first1=Sarah|editor-last2=Hallett|editor-first2=Mark|editor-last3=Turner|editor-first3=Laura|title=William Etty: Art & Controversy|year=2011|chapter=Introduction|pages=12–16|publisher=Philip Wilson Publishers|location=London|isbn=978-0-85667-701-4|oclc=800599710}}
* {{cite book|last1=Edwards|first1=Jason|editor-last1=Burnage|editor-first1=Sarah|editor-last2=Hallett|editor-first2=Mark|editor-last3=Turner|editor-first3=Laura|title=William Etty: Art & Controversy|year=2011|chapter=Queer and Now: On Etty's 'Autobiography' (1849) and 'Male Nude with Arms Up-Stretched' (c.&nbsp;1830)|pages=91–100|publisher=Philip Wilson Publishers|location=London|isbn=978-0-85667-701-4|oclc=800599710}}
* {{cite book|last=Farr|first=Dennis|title=William Etty|url=https://archive.org/details/williametty00farr|url-access=registration|year=1958|publisher=Routledge and Kegan Paul|location=London|oclc=2470159}}
* {{cite book|last=Gilchrist|first=Alexander|author-link=Alexander Gilchrist|title=Life of William Etty, R.A.|volume=1|year=1855a|publisher=David Bogue|location=London|oclc=2135826}}
* {{cite book|last=Gilchrist|first=Alexander|author-link=Alexander Gilchrist|title=Life of William Etty, R.A.|volume=2|year=1855b|publisher=David Bogue|location=London|oclc=2135826}}
* {{cite book|last1=Green|first1=Richard|editor-last1=Burnage|editor-first1=Sarah|editor-last2=Hallett|editor-first2=Mark|editor-last3=Turner|editor-first3=Laura|title=William Etty: Art & Controversy|year=2011|chapter=Etty and the Masters|pages=61–74|publisher=Philip Wilson Publishers|location=London|isbn=978-0-85667-701-4|oclc=800599710}}<!-- This is not an error—the book contains two different chapters called "Etty and the Masters", by two different people -->
* {{cite book|last1=Myrone|first1=Martin|editor-last1=Burnage|editor-first1=Sarah|editor-last2=Hallett|editor-first2=Mark|editor-last3=Turner|editor-first3=Laura|title=William Etty: Art & Controversy|year=2011|chapter='Something too Academical': The Problem with Etty|pages=47–60|publisher=Philip Wilson Publishers|location=London|isbn=978-0-85667-701-4|oclc=800599710}}
* {{cite book|last=Robinson|first=Leonard|title=William Etty: The Life and Art|year=2007|publisher=McFarland & Company|location=Jefferson, NC|isbn=978-0-7864-2531-0|oclc=751047871}}
* {{cite book|last=Smith|first=Alison|title=Exposed: The Victorian Nude|year=2001a|publisher=Tate Publishing|location=London|isbn=978-1-85437-372-4}}
* {{cite book|last=Smith|first=Alison|editor-last=Bills|editor-first=Mark|title=Art in the Age of Queen Victoria: A Wealth of Depictions|year=2001b|chapter=Private Pleasures?|pages=53–67|publisher=Russell–Cotes Art Gallery and Museum|location=Bournemouth|isbn=978-0-905173-65-8}}
* {{cite book|last=Smith|first=Alison|title=The Victorian Nude|year=1996|publisher=Manchester University Press|location=Manchester|isbn=978-0-7190-4403-8}}
* {{cite book|last1=Turner|first1=Laura|editor-last1=Burnage|editor-first1=Sarah|editor-last2=Hallett|editor-first2=Mark|editor-last3=Turner|editor-first3=Laura|title=William Etty: Art & Controversy|year=2011a|chapter=Introduction|pages=9–10|publisher=Philip Wilson Publishers|location=London|isbn=978-0-85667-701-4|oclc=800599710}}
* {{cite book|last1=Turner|first1=Sarah Victoria|editor-last1=Burnage|editor-first1=Sarah|editor-last2=Hallett|editor-first2=Mark|editor-last3=Turner|editor-first3=Laura|title=William Etty: Art & Controversy|year=2011b|chapter=Intimacy and Distance: Physicality, Race and Paint in Etty's 'The Wrestlers'|pages=75–90|publisher=Philip Wilson Publishers|location=London|isbn=978-0-85667-701-4|oclc=800599710}}
* {{cite book|last=Warner|first=Malcolm|author-link=Malcolm Warner|title=The Victorians: British Painting 1837–1901|year=1996|publisher=National Gallery of Art|location=Washington, D.C.|isbn=978-0-8109-6342-9|oclc=59600277}}

==External links==
{{Commons-inline}}

* {{Art UK bio}}
* An engraving by [[Edward Francis Finden]] of the painting {{ws|[[s:Poems of Felicia Hemans in The Amulet, 1829/The Angel's Call|Guardian Angels]]}} with the poem ''The Angel's Call'', by [[Felicia Hemans]], for The Amulet annual for 1829.
* {{ws|[[s:The Troubadour; Catalogue of Pictures, and Historical Sketches/The Combat|The Combat]]}}, a promotional poem on the painting by [[Letitia Elizabeth Landon]] in her Poetical Sketches of Modern Pictures, 1825.

{{William Etty}}
{{Authority control}}

{{DEFAULTSORT:Etty, William}}
[[Category:19th-century English painters]]
[[Category:English male painters]]
[[Category:Artists from York]]
[[Category:Royal Academicians]]
[[Category:1787 births]]
[[Category:1849 deaths]]
[[Category:Burials in North Yorkshire]]
[[Category:Paintings by William Etty|*]]
[[Category:British still life painters]]
[[Category:19th-century English male artists]]