xt7qjq0stw34_5353 https://exploreuk.uky.edu/dips/xt7qjq0stw34/data/mets.xml https://exploreuk.uky.edu/dips/xt7qjq0stw34/data/1997ms474.dao.xml unknown archival material 1997ms474 English University of Kentucky The physical rights to the materials in this collection are held by the University of Kentucky Special Collections Research Center.  Contact the Special Collections Research Center for information regarding rights and use of this collection. W. Hugh Peal manuscript collection William Etty letters, with clipping text 43.94 Cubic Feet 86 boxes, 4 oversize boxes, 22 items Poor-Good Peal accession no. 11453. William Etty letters, with clipping 2017 https://exploreuk.uky.edu/dips/xt7qjq0stw34/data/1997ms474/Box_62/Folder_20/Multipage28373.pdf undated section false xt7qjq0stw34_5353 xt7qjq0stw34  

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 ETTY (WILLIAM), 3.5..
B. 1787. D. 1849.

William Etty was born at York, March the 10th, 1787; his
father was a miller. In 1798 he was apprenticed to Robert Peck,
aletterpress printer at Hull, with whom he served seven years’
but, says Etty, in his autobiography, “ I had such a busy desire to
be a painter, that the last years of my servitude dragged on
most heavily.” In 1806 he removed to London, to his uncle,
Mr. William Etty, of Lombard Street, and at once earnestly pre-
pared himself to enter as a student at Somerset House. His first
academy, however, was the plaster—cast shop kept by Gianelli, in
Cock Lane, Smithfield, where Etty made a drawing of the ancient
group of Cupid and Psyche, which procured him admission into
the Royal Academy ; he and Collins entered it the same week in
1807. By his uncle’s generosity, who paid one hundred guineas
for him, Etty became the pupil for one year of Sir Thomas (then
Mr.) Lawrence, residing at that time in Greek Street, Soho
Square, but the incessant occupation of Lawrence left him little
leisure to assist his pupil, and Etty’s difficulties were so great,
that he writes—“ Despair almost overwhelmed me, I was ready to
run away, I felt that I could not get on, but a voice within said
persevere! I did so, and at last triumphed, but I was nearly
beaten.”

When his year was expired, Etty painted from nature, and
copied the “old masters ” in the British Gallery: this, he says,
he found easy, after copying Lawrence. He was also a constant
student in the “Life School” of the Royal Academy. His
industry was indefatigable, yet he tells us he tried for all medals,
gold and silver, and never got any of either. He ventured at one
time to send six pictures to the Academy exhibition, all were
rejected; this happened year after year at the Academy, and at
the British Gallery, but by discovering his defects, and by great
industry in endeavouring to correct them, he at last conquered

his evil fortune, an: y suc works as “The Coral Finders,”
exhibited in 1820 ; “Cleopatra,” exhibited in the following year,
and some others, he established a reputation, and at length entered
upon his great career.

In 1822 Etty went to Italy, visiting Venice, Florence, Rome,
and Naples, but it was in Venice that he found the greatest

attractions ;—“ Venice, the birth-place and cradle of colour, the
hope and idol of my professional life 1” He studied in the Academy
there, and was elected an honorary member of it.

He returned to London early in 182-1. The first picture be ex-
hibited after his return, was “Pandora crowned by the Seasons,"
in the Exhibition of 1824, for which he was chosen an associate of
the Royal Academy ; and in 1828 he became a member.

In the autobiography mentioned in this notice, Etty has himself
pointed out what he considered his greatest works. “‘To the
pure in heart, all things are pure,’ my aim in all my great
pictures has been to paint some great moral on the heart "—-
“The Combat,” the beauty of mercy; the three “Judith” pic-
tures, patriotism, and self-devotion to country, people, and
God; “Benaiah, David’s chief captain,” valour; “Ulysses and
the Syrens,” the importance of resisting sensual delights, or an
Homeric paraphrase on “The Wages of Sin is Death ” ; three
pictures of “Joan of Arc,” Religion, Loyalty, and Patriotism,
like the modern Judith. In all, nine great pictures, “as it was
my desire to paint three times three.”

In the summer of 1849 an exhibition of Etty’s works, to the
number of 130 pictures, took place in the great room of the
Society of Arts, at the Adelphi, in a surprising manner display-
ing the great powers of this distinguished English painter,
especially as a colourist. Etty died in the same year, 1849, in
his native place, York, on the 13th of November; he was never
married, and having lived a very retired life, he accumulated a
considerable fortune.“ He contributed one hundred and thirty-
six pictures to the Royal Academy exhibitions.