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See also:ETTY, See also:- WILLIAM
- WILLIAM (1143-1214)
- WILLIAM (1227-1256)
- WILLIAM (1J33-1584)
- WILLIAM (A.S. Wilhelm, O. Norse Vilhidlmr; O. H. Ger. Willahelm, Willahalm, M. H. Ger. Willehelm, Willehalm, Mod.Ger. Wilhelm; Du. Willem; O. Fr. Villalme, Mod. Fr. Guillaume; from " will," Goth. vilja, and " helm," Goth. hilms, Old Norse hidlmr, meaning
- WILLIAM (c. 1130-C. 1190)
- WILLIAM, 13TH
WILLIAM (1787-1849) , See also:British painter, was See also:born at See also:York, on the loth of See also:March 1787. His See also:father had been in See also:early See also:life a See also:miller, but had finally established himself in the See also:city of York as a See also:baker of spice-See also:bread. After. some scanty instruction of the most elementary See also:kind, the future painter, at the See also:age of eleven and a See also:half, See also:left the paternal roof, and was See also:bound apprentice in the See also:printing-See also:- OFFICE (from Lat. officium, " duty," " service," a shortened form of opifacium, from facere, " to do," and either the stem of opes, " wealth," " aid," or opus, " work ")
office of the See also:Hull Packet. Amid many trials and discouragements he completed his See also:term of seven years' See also:servitude, and having in that See also:period come by practice, at first surreptitious, though afterwards allowed by his See also:master " in lawful See also:hours," to know his own See also:powers, he removed to See also:London.
The kindness of an See also:elder See also:brother and a wealthy See also:uncle, William Etty, himself an artist, stood him in See also:good See also:stead. He commenced his training by copying without instruction from nature, See also:models, prints, &c.—his first See also:academy, as he himself says, being a
See also:plaster-See also:cast See also:shop in See also:Cock See also:Lane, Smithfield. Here he made a copy from an See also:ancient cast of See also:Cupid and See also:Psyche, which was shown to See also:Opie, and led to his being enrolled in 1807 as student of the Academy, whose See also:schools were at that See also:- TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
- TIME, MEASUREMENT OF
- TIME, STANDARD
time conducted in See also:Somerset See also:House. Among his See also:fellow scholars at this period of his career were some who in after years See also:rose to See also:eminence in their See also:art, such as See also:Wilkie, See also:Haydon, See also:Collins, See also:- CONSTABLE (0. Fr. connestable, Fr. connetable, Med. Lat. comestabilis, conestabilis, constabularius, from the Lat. comes stabuli, count of the stable)
- CONSTABLE, ARCHIBALD (1774-1827)
- CONSTABLE, HENRY (1562-1613)
- CONSTABLE, JOHN (1776-1837)
- CONSTABLE, SIR MARMADUKE (c. 1455-1518)
Constable. His uncle generously paid the necessary See also:fee of one See also:hundred guineas, and in the summer of 1807 he was admitted to be a private See also:- PUPIL (Lat. pupillus, orphan, minor, dim. of pupus, boy, allied to puer, from root pm- or peu-, to beget, cf. "pupa," Lat. for " doll," the name given to the stage intervening between the larval and imaginal stages in certain insects)
pupil of See also:Sir See also:- THOMAS
- THOMAS (c. 1654-1720)
- THOMAS (d. 110o)
- THOMAS, ARTHUR GORING (1850-1892)
- THOMAS, CHARLES LOUIS AMBROISE (1811-1896)
- THOMAS, GEORGE (c. 1756-1802)
- THOMAS, GEORGE HENRY (1816-187o)
- THOMAS, ISAIAH (1749-1831)
- THOMAS, PIERRE (1634-1698)
- THOMAS, SIDNEY GILCHRIST (1850-1885)
- THOMAS, ST
- THOMAS, THEODORE (1835-1905)
- THOMAS, WILLIAM (d. 1554)
Thomas See also:- LAWRENCE
- LAWRENCE (LAURENTIUS, LORENZO), ST
- LAWRENCE, AMOS (1786—1852)
- LAWRENCE, AMOS ADAMS (1814–1886)
- LAWRENCE, GEORGE ALFRED (1827–1876)
- LAWRENCE, JOHN LAIRD MAIR LAWRENCE, 1ST BARON (1811-1879)
- LAWRENCE, SIR HENRY MONTGOMERY (1806–1857)
- LAWRENCE, SIR THOMAS (1769–1830)
- LAWRENCE, STRINGER (1697–1775)
Lawrence, who was at the very See also:acme of his fame. Etty himself always looked on this See also:privilege as one of incalculable value, and till his latest See also:day regarded Lawrence as one of the See also:chief ornaments of British art. For some years after he quitted Sir Thomas's studio, even as See also:late as 1816, the See also:influence of his See also:preceptor was traceable in the mannerism of his See also:works. Though he had by this time made See also:great progress in his art, his career was still one of almost continual failure, hardly cheered by even a passing See also:ray of success. In 1811, after repeated rejections, he had the See also:satisfaction of seeing his " See also:Telemachus rescuing See also:Antiope " on the walls of the Academy. It was badly hung, however, and attracted little See also:notice. For the next five years he persevered with quiet and See also:constant See also:energy in overcoming the disadvantages of his early training with yearly growing success, and he was even beginning to establish something like a name when in 1816 he resolved to improve his knowledge of art by a See also:journey to See also:Italy. After an See also:absence of three months, however, he was compelled to return See also:home without having penetrated farther See also:south than See also:Florence. Struggles and vexations still continued to harass him; but he See also:bore up against them with patient endurance and force of will. In 1820 his " See also:Coral-finders," exhibited at the Royal Academy, attracted much See also:attention, and its success was more than equalled by that of " See also:Cleopatra's arrival in See also:Cilicia," shown in the following See also:year. In 1822 he again set out on a tour to Italy, taking See also:Paris on his way, and astonishing his fellow-students at the Louvre by the rapidity and fidelity with which he copied from the old masters in that See also:gallery. On arriving at See also:Rome he immediately resumed his studies of the old masters, and elicited many expressions of wonder from his See also:Italian fellow-artists for the same qualities which had gained the admiration of the See also:French. Though Etty was duly impressed by the See also:grand chefs-d'oeuvre of See also:Raphael and See also:Michelangelo at Rome, he was not sorry to See also:exchange that city for See also:Venice, which he always regarded as the true home of art in, Italy. His own See also:style as a colourist held much more of the Venetian than of any other Italian school, and he admired his prototypes with a zeal and exclusiveness that sometimes bordered on extravagance.
Early in 1824 he returned home to find that honours See also:long unjustly withheld were awaiting him. In that year he was made an See also:associate of the Royal Academy, and in 1828 he was promoted to the full dignity of an Academician. In the See also:interval between these See also:dates he had produced the " Combat (Woman interceding for the Vanquished)," and the first of the See also:series of three pictures on the subject of See also:Judith, both of which ultimately came into the See also:possession of the Scottish Academy. Etty's career was from this time one of slow but uninterrupted success. In 1830 he again crossed the channel with the view to another art tour through the See also:continent; but he was overtaken in Paris by the insurrection of the Three Days, and was so much shocked by the See also:sights he was compelled to See also:witness in that time that he returned home with all convenient See also:speed. During the next ten years of his life the zeal and unabated assiduity of his studies were not at all diminished. He was a constant attendant at the Academy Life School, where he used to See also:work regularly along with the students, notwithstanding the remonstrances of some of his fellow-Academicians, who thought the practice undignified. The course of his studies was only interrupted by occasional visits to his native city, and to See also:Scotland, where he was welcomed with the utmost See also:enthusiasm, and feted with the most gratifying heartiness by his brother-artists at See also:Edinburgh. On the occasion of one of these visits he gave the See also:finishing touches to his trio of Judiths. In 1840, and again in 1841, Etty undertook a See also:pilgrimage to the See also:Netherlands, to seek and examine for himself the masterpiecesof See also:Rubens in the churches and public galleries there. Two years , later he once more visited See also:France with a view to See also:collecting materials for what he called " his last epic," his famous picture of " See also:Joan of Arc." This subject, which would have tasked to the full even his great powers in the See also:prime and vigour of manhood, proved almost too serious an undertaking for him in his old age. It exhibits, at least, amid great excellences, undeniable proofs of decay on the See also:part of the painter; yet it brought a higher See also:price than any of his earlier and more perfect works, 2500. In 1848, after completing this work, he retired to York, having realized a comfortable See also:independence. One wish alone remained for him now to gratify; he desired to see a " gathering " of his pictures. With much difficulty and exertion he was enabled to assemble the great See also:majority of them from various parts of the British Islands; and so numerous were they that the walls of the large See also:- HALL
- HALL (generally known as SCHWABISCH-HALL, tc distinguish it from the small town of Hall in Tirol and Bad-Hall, a health resort in Upper Austria)
- HALL (O.E. heall, a common Teutonic word, cf. Ger. Halle)
- HALL, BASIL (1788-1844)
- HALL, CARL CHRISTIAN (1812–1888)
- HALL, CHARLES FRANCIS (1821-1871)
- HALL, CHRISTOPHER NEWMAN (1816—19oz)
- HALL, EDWARD (c. 1498-1547)
- HALL, FITZEDWARD (1825-1901)
- HALL, ISAAC HOLLISTER (1837-1896)
- HALL, JAMES (1793–1868)
- HALL, JAMES (1811–1898)
- HALL, JOSEPH (1574-1656)
- HALL, MARSHALL (1790-1857)
- HALL, ROBERT (1764-1831)
- HALL, SAMUEL CARTER (5800-5889)
- HALL, SIR JAMES (1761-1832)
- HALL, WILLIAM EDWARD (1835-1894)
hall he engaged in London for their See also:exhibition were nearly covered. This took See also:place in the summer of 1849i on the 13th of * See also:November of that same year he died. He received the honours of a public funeral in his native city.
Etty holds a secure place among See also:English artists. His See also:drawing was frequently incorrect, but in feeling and skill as a colourist he has few equals. His most conspicuous defects as a painter were the result of insufficient See also:general culture and narrowness of sympathy.
See Etty's autobiography, published in the Art See also:Journal for 1849, and the Life of William Etty, R.A., by Gilchrist (2 vols., 1855).
End of Article: ETTY, WILLIAM (1787-1849)
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