Etty, WILLIAM, R.A., painter, was born at York, 10th March 1787, the son of a miller and spice-maker. For seven years he was apprenticed to a printer in Hull, working at art during every moment that could be spared from his uncongential employment. In the beginning of 1806 he removed to London, where in 1807 he became a student in the Royal Academy schools; and for a year he was a pupil of Sir Thomas Lawrence. His progress was at first slow; he competed unsuccessfully for prizes and medals; but in 1811 his 'Sappho' was hung in the Royal Institution, and his 'Telemachus rescuing Antiope' found a place on the walls of the Royal Academy. In 1820 he produced 'Pandora,' followed by 'The Coral-finders' (1820) and 'Cleopatra's Arrival in Cilicia' (1821). In 1822 he spent eighteen months in Italy—to which he had made a very brief visit in 1816—studying the works of the great masters, especially the Venetians, upon whom his own practice as a colourist is very distinctly founded. Two years later he was elected A.R.A., and soon after he began a series of large subjects—'Woman pleading for the Vanquished' (1825), three scenes from the history of Judith (1827-31), and 'Benaiah' (1829), all of which were acquired by the Royal Scottish Academy, and now hang in the National Gallery of Scotland. In 1828 he attained full academic honours. Among his other chief works are 'Youth at the Prow and Pleasure at the Helm' (1832), in the National Gallery, London; 'The Sirens' (1837), in the Manchester Institution; and three subjects from the career of Joan of Arc, executed shortly before his death, which occurred at York, 13th November 1849. As a colourist Etty ranks at the very head of the English school. His painting of flesh is distinguished by the utmost richness, delicacy, and refinement, and the glowing, blending hues of his draperies and of his landscape backgrounds are in admirable harmony with his figures. His drawing is too frequently mannered and inaccurate, though it occasionally possesses style and distinction. He was an indefatigable student of the living figure, and some of his most exquisite works are studies executed in the Life School of the Royal Academy, which he attended during most of his life. See Autobiography in Art Journal (1849); and Life by A. Gilchrist (1855).
Étude, a term used in music to designate compositions intended either to train or to test the player's technical skill. It is applied equally to pieces written for the beginner as to those written for the skilled expert, no matter what his instrument be.