443:
style of epic composition; and if his future efforts do but equal the expectations raised by his first essay, we shall have reasons to rejoice at the change. His ideal group of "The Combat", in the present exhibition at the Royal
Academy, is particularly striking, from its uncommon combination of beauties, without possessing any very extraordinary merit in any single quality, taken separately. Its style of colouring, perhaps, forms its most distinguishing feature; and in this respect the artist has still adhered closely to the system pursued by the Venetian school. The arrangement of his colours is admirably successful, and we could instance individual passages of extraordinary beauty. Of these, none is more eminently deserving than the right foot of the female, which seems actually to glow with the rich juice of life. Generally speaking, the extremities are well understood, and carefully executed, and the composition of the figures is in the most masterly style.
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403:"strongly demonstrates the progress of to excellence", remarking that "never was a groupe more calculated to display the action in which the power of conquest is so eminently and fearfully delineated" and that "we have little doubt that the works of Titian were, on their first appearance ... what this piece is now." The same correspondent did find some flaws in the overly pronounced muscles of the victor's thigh and the lack of definition of muscle in the legs of the defeated man, but felt that despite this
586:, a painting containing apparently gratuitous nude figures, met a hostile reception from critics. From then on, while Etty continued to paint nude figures for the rest of his career, he made a conscious effort to try to illustrate moral lessons with his work. This effort was not wholly successful, and he continued to be regarded as a pornographer by some throughout his career. He died in late 1849, and following his death nude paintings went rapidly out of fashion in Britain.
278:
soldier, raising her face to him to beg him to spare his defeated foe. The defeated warrior has a stronger body, a face more in keeping with the conventions of attractiveness at the time, and a more sympathetic expression, while the victorious man is darker skinned and has an expression of blank fierceness. The vanquished soldier's sword has broken, and lies beside him on the ground.
336:), Etty gave the character a more defiant appearance than seen in the finished version. In this preliminary sketch he is not on his knees, but thrusts his leg out to brace himself. He has an expression of defiance and determination, rather than the plea for mercy and posture of total defeat shown in the final work.
243:. Etty was the first British artist to specialise in the nude, and the reaction of the lower classes to these paintings caused concern throughout the 19th century. Many critics condemned his repeated depictions of female nudity as indecent, although his portraits of male nudes were generally well received.
366:
commented that "in colour this picture strongly reminds us of the great heroes of the
Venetian school, while in learned intelligence of form, and energy of action, it greatly surpasses them", observing that "we should not have the least objection to seeing this picture placed in one of the very first
285:
on any single incident from history or literature, or on any existing artwork, but on his own imagination; this was a highly unusual step to take regarding history paintings, which generally depicted themes from literature or religion. He had been considering the topic as early as 1821, and his plans
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is a large painting, 399 cm (13 ft 1 in) across. It depicts a defeated soldier, kneeling in front of another soldier. The defeated fighter strains to free himself from the grip of the victorious warrior, who stands, raising a sword. A kneeling woman clutches the waist of the victorious
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was the first very large work attempted by Etty, and its success prompted him to produce further works on a similar scale over the rest of his career; he produced nine very large paintings illustrating moral themes throughout his career. As time went by his canvases came to be increasingly dominated
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an artist who has hitherto appeared before the public only in a few small easel-pictures, striking indeed from their arrangement, and their approach towards the
Venetian system of colour, but destitute of any particular interest. He has now come forward in a new character—as a painter in the great
426:
was "a masterly effort" that successfully fused "the florid beauties of the
Venetian school" with the "sober dignity and power of the Roman school" and that compared with his previous paintings, which were "too uniformly feeble in character and meretricious in effect to entitle them to any very
415:
was similarly effusive about the painting, admiring Etty's ability to fuse his own imagination with themes derived from the Elgin
Marbles and from the Venetian Old Masters, and commenting that "it is always gratifying to those who feel for the honour and independence of painting when, as in the
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of 1825, it attracted near-universal praise from critics for its technical excellence, its fusion of the styles of different schools of painting, and its subject matter. Nevertheless, it failed to find a buyer at the Summer
Exhibition, and was instead bought by fellow artist
359:
was generally highly praised by critics for its technical excellence, its combination of the
Venetian and English styles of painting, and as an indication that Etty was moving away from nudity and towards history painting.
238:
While some nudes by foreign artists were held in private
English collections, the country had no tradition of nude painting and the display and distribution of nude material to the public had been suppressed since the 1787
468:, felt that said foot "looks too much as if painted from a modern foot accustomed to compression in a shoe, for the heroic character and classical air of the rest of the work" and that her leg appeared too short.
491:
for 300 guineas (about £31,000 in 2024 terms), following a promise Martin had made to Etty before the painting was complete. The painting was too large for Martin's house, and in 1831 he sold it on to the
93:
warrior whose sword has broken, forced to his knees in front of another near-nude soldier who prepares to inflict a killing blow. A woman, also near-nude, clutches the victorious warrior to beg him for
1879:
541:. The engraving was published three years later, and the painting used as its model passed through the hands of several collectors in subsequent years, before entering the collection of the
416:
present instance, an artist successfully relies on nature and the resources of his own mind for his subject, and on the appreciation of collegial minds for his mode of treating it."
1929:
255:
Sketch from the Elgin
Marbles by William Etty. Etty was fascinated with the scenes of combat depicted by the Marbles, which had recently been put on display in London.
643:(1755–1826) was also from York. When Etty was eventually elected a Royal Academician in 1828, it was to fill the vacancy created by Flaxman's death two years earlier.
556:, Etty continued with his preferred theme of history paintings containing nudity; of the 15 pictures he exhibited at the Royal Academy during the 1820s (including
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does not depict a scene from history, literature or religion and is not based on an existing artwork, but is instead a scene from the artist's own imagination.
1831:
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153:. On completing his seven-year apprenticeship he moved at the age of 18 to London "with a few pieces of chalk crayons", with the intention of becoming a
234:(1824) helped cement Etty's reputation for pastiche of Rubens and Titian, and for the use of mythological and literary subjects as a pretext for nudity.
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was highly divided, with some critics greatly praising it as a technical accomplishment, while others saw it as a rushed pastiche of Titian and Rubens.
501:
1535:
Burnage, Sarah (2011d). "Painting the Nude and 'Inflicting Divine
Vengeance on the Wicked'". In Burnage, Sarah; Hallett, Mark; Turner, Laura (eds.).
362:
1934:
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is clearly influenced by his work. As well as drawing inspiration from classical sculpture, he was also strongly influenced by the composition of
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In Etty's time, honours such as knighthoods were only bestowed on presidents of major institutions, not on even the most well respected artists.
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as "to paint a great moral on the heart the beauty of mercy." Etty's 1958 biographer Dennis Farr points out similarities in the composition of
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In the preliminary study for the defeated warrior, the character bears a more defiant expression and posture than seen in the finished version.
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hastily on his return as a "testimonial of recent progress" he had made while studying paintings in Italian collections. Critical opinion of
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continued to be considered one of Etty's most powerful paintings. In 1845, Etty took a smaller 89 by 118 cm (35 by 46 in) copy of
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prompted Etty to produce other very large paintings, such as the 442.5 cm by 297 cm (14 ft 6 in by 9 ft 9 in)
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works he had seen while in Italy. As with many of Etty's works, the models posed for him separately in his studio, rather than as a group.
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Dennis Farr believes that the slight distortion of the female figure is the result of Etty standing too close to the model in the studio.
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decided praise", the painting proved Etty "capable of maintaining a much higher station in art than we had been led to expect."
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422:, a newspaper which had previously condemned Etty as "offensive and indecent", felt that "though defective in some respects"
190:). The painting was extremely well received, and many of Etty's fellow artists greatly admired him. Following the praise for
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317:, but while Etty and Flaxman were contemporaries at the Royal Academy, it is not known if Etty was aware of this drawing.
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Burnage, Sarah (2011b). "History Painting and the Critics". In Burnage, Sarah; Hallett, Mark; Turner, Laura (eds.).
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where it remains. One of Etty's major works, it was exhibited at numerous major exhibitions including the seminal
533:, which had been painted by an unknown Edinburgh artist, and completely reworked it to serve as the basis for an
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Burnage, Sarah; Bertram, Beatrice (2011). "Chronology". In Burnage, Sarah; Hallett, Mark; Turner, Laura (eds.).
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Burnage, Sarah (2011a). "Etty and the Masters". In Burnage, Sarah; Hallett, Mark; Turner, Laura (eds.).
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224:(about £35,000 in 2024 terms), and secured Etty the position of Associate at the Royal Academy of Arts.
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Candaules, King of Lydia, Shews his Wife by Stealth to Gyges, One of his Ministers, as She Goes to Bed
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Burnage, Sarah (2011c). "The Life Class". In Burnage, Sarah; Hallett, Mark; Turner, Laura (eds.).
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artworks such as those he had seen during his recent travels in Italy, and in particular with the
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was "one of the finest and most masterly works that ever graced the walls of the Royal Academy."
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The Destroying Angel and Daemons of Evil Interrupting the Orgies of the Vicious and Intemperate
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The Destroying Angel and Daemons of Evil Interrupting the Orgies of the Vicious and Intemperate
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In 1832 Etty returned to the idea of a history painting drawn entirely from imagination with
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The foot in question was not universally admired by critics; the anonymous correspondent for
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sculptures taken to London in controversial circumstances in the early 19th century.
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118:. The painting proved too large for Martin's house, and in 1831 he sold it on to the
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122:. It was transferred in 1910 to the National Gallery of Scotland, where it remains.
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of 1857, before Etty fell out of fashion in the second half of the 19th century.
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475:'s Poetical Sketches of Modern Pictures in her 1826 collection, The Troubadour.
177:, all of which were either rejected or received scant attention when exhibited.
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907:"The Annual RPI and Average Earnings for Britain, 1209 to Present (New Series)"
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57:, 1848, based on a reworked version of the painting completed by Etty in 1845
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in 1828, at that time the most prestigious honour available to an artist.
39:(1825), 304 by 399 cm (10 ft 0 in by 13 ft 1 in)
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took shape following his visit to Italy. During this visit Etty had met
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in 1824. Etty had travelled extensively in Italy in 1823, and painted
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In 1821 the Royal Academy accepted and exhibited one of Etty's works,
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in 1934. A number of sketches attributed to Etty, under the name of
1711:
Smith, Alison (2001b). "Private Pleasures?". In Bills, Mark (ed.).
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in biblical, literary and mythological settings, most notably
1026:(May 1825). London: Sherwood, Jones and Co.: 459 1 June 1825.
568:) all but one contained a nude figure. He was elected a full
1219:. No. 11466. London. 29 January 1822. col A, p. 3.
1018:"The Fifty-Seventh Annual Exhibition of the Royal Academy".
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greatly, in particular the right foot of the female figure:
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An anonymous reviewer in the first issue of the short-lived
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The Triumph of Cleopatra (Cleopatra's Arrival in Cilicia)
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Art in the Age of Queen Victoria: A Wealth of Depictions
1278:(1). London: Black, Young, and Young: 8–9. 11 June 1825.
1056:. No. 14860. London. 24 May 1832. col F, p. 3.
786:
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1234:. No. 12643. London. 3 May 1825. col C, p. 3.
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baker and miller. He began as an apprentice printer in
1512:. London: Philip Wilson Publishers. pp. 198–227.
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Musidora: The Bather 'At the Doubtful Breeze Alarmed'
1715:. Bournemouth: Russell–Cotes Art Gallery and Museum.
1485:. London: Philip Wilson Publishers. pp. 106–54.
1458:. London: Philip Wilson Publishers. pp. 154–97.
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1328:
1251:. London: Black, Young, and Young. 1826. p. iv.
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16:
Oil painting on canvas by English artist William Etty
1566:. London: Philip Wilson Publishers. pp. 20–30.
1539:. London: Philip Wilson Publishers. pp. 31–46.
201:
A Sketch from One of Gray's Odes (Youth on the Prow)
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1800:
The Dawn of Love (Venus Now Wakes, and Wakens Love)
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1590:
1289:"The Fine Arts: Exhibition of the Royal Academy".
1196:"The Fine Arts: Exhibition of the Royal Academy".
1177:"The Fine Arts: Exhibition of the Royal Academy".
1104:(1094). London: Joseph Clayton: 568. 16 June 1849.
194:, Etty tried to replicate its success by painting
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1089:
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630:, not having their origin in history or poetry."
547:A Study for Mercy Interceding for the Vanquished
301:Etty, writing in 1849, described the purpose of
1248:The Parthenon: A Magazine of Art and Literature
895:
893:
464:, who was otherwise effusive in his praise for
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1096:"The Etty Collection at the Society of Arts".
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884:
1792:The Combat: Woman Pleading for the Vanquished
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1185:. London: Hunt and Clarke: 256–57. June 1825.
379:Heracles Killing a Man to whom a Woman Clings
341:The Combat: Woman Pleading for the Vanquished
315:Heracles Killing a Man to whom a Woman Clings
275:The Combat: Woman Pleading for the Vanquished
66:The Combat: Woman Pleading for the Vanquished
33:The Combat: Woman Pleading for the Vanquished
8:
725:(online ed.). Oxford University Press.
1832:Youth on the Prow, and Pleasure at the Helm
1661:. Manchester: Manchester University Press.
608:Youth on the Prow, and Pleasure at the Helm
583:Youth on the Prow, and Pleasure at the Helm
496:. It was transferred in 1910 to the nearby
241:Proclamation for the Discouragement of Vice
1760:
1746:
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1634:. Jefferson, NC: McFarland & Company.
1297:. London: Hunt and Clarke: 257. June 1825.
1204:. London: Hunt and Clarke: 256. June 1825.
483:Failing to sell at the Summer Exhibition,
903:inflation figures are based on data from
751:
673:, but this is incorrect; Darnley admired
77:, first exhibited in 1825 and now in the
1930:Paintings in National Galleries Scotland
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1020:The European Magazine, and London Review
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806:. Manchester Art Gallery. Archived from
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363:The European Magazine, and London Review
85:and intended by the artist to provide a
1166:. London: S Robinson: 311. 31 May 1825.
722:Oxford Dictionary of National Biography
711:
595:
385:possibly influenced the composition of
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487:was bought from Etty by fellow artist
471:The painting is the subject of one of
161:. Strongly influenced by the works of
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367:galleries, by the side of Titian and
89:on "the beauty of mercy", it shows a
7:
1617:. Vol. 2. London: David Bogue.
1597:. London: Routledge and Kegan Paul.
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1564:William Etty: Art & Controversy
1537:William Etty: Art & Controversy
1510:William Etty: Art & Controversy
1483:William Etty: Art & Controversy
1456:William Etty: Art & Controversy
1270:"Exhibitions of Pictures, &c".
1230:"Exhibition at the Royal Academy".
183:The Arrival of Cleopatra in Cilicia
134:William Etty, 1823, shortly before
14:
611:, one of Etty's best known works.
1848:Preparing for a Fancy Dress Ball
605:was later developed into 1828's
603:A Sketch from one of Gray's Odes
290:and been very impressed by him;
169:, he submitted paintings to the
46:
25:
677:and commissioned Etty to paint
671:John Bligh, 4th Earl of Darnley
345:Royal Academy Summer Exhibition
204:in 1822, and the controversial
145:was born in 1787, the son of a
111:Royal Academy Summer Exhibition
1935:Collection of York Art Gallery
1840:Britomart Redeems Faire Amoret
1632:William Etty: The Life and Art
232:Pandora Crowned by the Seasons
218:Pandora Crowned by the Seasons
206:Pandora Crowned by the Seasons
1:
739:UK public library membership
669:was bought at exhibition by
498:National Gallery of Scotland
79:National Gallery of Scotland
73:on canvas by English artist
1688:. London: Tate Publishing.
1686:Exposed: The Victorian Nude
549:, are also in circulation.
1961:
1808:The World Before the Flood
1630:Robinson, Leonard (2007).
1134:Burnage & Bertram 2011
885:Burnage & Bertram 2011
332:for the defeated warrior (
1920:Paintings by William Etty
1615:Life of William Etty, R.A
259:Etty was fascinated with
109:When it was shown at the
502:Art Treasures Exhibition
473:Letitia Elizabeth Landon
188:The Triumph of Cleopatra
157:in the tradition of the
1872:Portrait of Mlle Rachel
1684:Smith, Alison (2001a).
905:Clark, Gregory (2017).
580:The 1832 exhibition of
1856:The Sirens and Ulysses
1657:Smith, Alison (1996).
679:The Judgement of Paris
522:
518:The Sirens and Ulysses
494:Royal Scottish Academy
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120:Royal Scottish Academy
1589:Farr, Dennis (1958).
731:10.1093/ref:odnb/8925
685:at the Royal Academy.
552:After the success of
525:Throughout his life,
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343:was exhibited at the
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171:Royal Academy of Arts
133:
1611:Gilchrist, Alexander
661:Alison Smith's 1996
1291:The London Magazine
1198:The London Magazine
1179:The London Magazine
1160:The Lady's Magazine
870:, pp. 108–109.
810:on 11 February 2015
462:The London Magazine
412:The London Magazine
396:The Lady's Magazine
355:On its exhibition,
175:British Institution
1945:Portraits of women
1659:The Victorian Nude
901:Retail Price Index
804:"About the artist"
663:The Victorian Nude
523:
391:
326:
281:Etty did not base
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236:
220:sold for 300
140:
98:. Unusually for a
81:. Inspired by the
1907:
1906:
1875: (1841–1847)
1722:978-0-905173-65-8
1695:978-1-85437-372-4
1668:978-0-7190-4403-8
1641:978-0-7864-2531-0
1573:978-0-85667-701-4
1546:978-0-85667-701-4
1519:978-0-85667-701-4
1492:978-0-85667-701-4
1465:978-0-85667-701-4
1052:"Royal Academy".
737:(Subscription or
570:Royal Academician
539:George Thomas Doo
434:magazine admired
393:In similar vein,
267:, a set of major
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543:Ringling Museum
511:The success of
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328:In the initial
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186:(also known as
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1958:
1956:
1948:
1947:
1942:
1937:
1932:
1927:
1925:1825 paintings
1922:
1912:
1911:
1905:
1904:
1902:
1901:
1894:
1892:
1888:
1887:
1885:
1884:
1876:
1868:
1860:
1852:
1844:
1836:
1828:
1820:
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1796:
1788:
1779:
1777:
1773:
1772:
1767:
1765:
1764:
1757:
1750:
1742:
1736:
1735:
1721:
1708:
1694:
1681:
1667:
1654:
1640:
1627:
1607:
1586:
1572:
1559:
1545:
1532:
1518:
1505:
1491:
1478:
1464:
1449:
1446:
1444:
1443:
1431:
1419:
1407:
1405:, p. 135.
1392:
1380:
1378:, p. 110.
1368:
1366:, p. 141.
1351:
1339:
1324:
1312:
1300:
1281:
1262:
1237:
1222:
1207:
1188:
1169:
1150:
1148:, p. 204.
1138:
1126:
1124:, p. 142.
1107:
1083:
1081:, p. 120.
1071:
1059:
1044:
1029:
1007:
1005:, p. 111.
992:
990:, p. 112.
973:
961:
949:
937:
935:, p. 109.
925:
912:MeasuringWorth
889:
872:
860:
858:, p. 118.
845:
833:
831:, p. 178.
821:
795:
780:
768:
766:, p. 157.
756:
752:Gilchrist 1855
744:
710:
708:
705:
703:
700:
697:
696:
687:
654:
645:
632:
613:
594:
593:
591:
588:
480:
477:
455:, 11 June 1825
445:
352:
349:
339:The completed
288:Antonio Canova
248:
245:
127:
124:
52:
45:
44:
43:
31:
24:
23:
22:
21:
20:
15:
13:
10:
9:
6:
4:
3:
2:
1957:
1946:
1943:
1941:
1940:War paintings
1938:
1936:
1933:
1931:
1928:
1926:
1923:
1921:
1918:
1917:
1915:
1899:
1896:
1895:
1893:
1889:
1882:
1881:
1877:
1874:
1873:
1869:
1867: (1840s)
1866:
1865:
1864:The Wrestlers
1861:
1858:
1857:
1853:
1850:
1849:
1845:
1842:
1841:
1837:
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1498:
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1479:
1475:
1471:
1467:
1461:
1457:
1452:
1451:
1447:
1440:
1435:
1432:
1429:, p. 42.
1428:
1427:Burnage 2011d
1423:
1420:
1417:, p. 36.
1416:
1415:Burnage 2011d
1411:
1408:
1404:
1403:Robinson 2007
1399:
1397:
1393:
1390:, p. 32.
1389:
1388:Burnage 2011d
1384:
1381:
1377:
1376:Burnage 2011b
1372:
1369:
1365:
1360:
1358:
1356:
1352:
1349:, p. 70.
1348:
1343:
1340:
1337:, p. 48.
1336:
1331:
1329:
1325:
1322:, p. 49.
1321:
1316:
1313:
1310:, p. 88.
1309:
1304:
1301:
1296:
1292:
1285:
1282:
1277:
1273:
1272:The Parthenon
1266:
1263:
1258:
1254:
1250:
1249:
1241:
1238:
1233:
1226:
1223:
1218:
1211:
1208:
1203:
1199:
1192:
1189:
1184:
1180:
1173:
1170:
1165:
1161:
1158:"Fine Arts".
1154:
1151:
1147:
1146:Burnage 2011c
1142:
1139:
1136:, p. 23.
1135:
1130:
1127:
1123:
1118:
1116:
1114:
1112:
1108:
1103:
1099:
1098:The Spectator
1092:
1090:
1088:
1084:
1080:
1079:Robinson 2007
1075:
1072:
1069:, p. 99.
1068:
1067:Robinson 2007
1063:
1060:
1055:
1048:
1045:
1042:, p. 47.
1041:
1036:
1034:
1030:
1025:
1021:
1014:
1012:
1008:
1004:
1003:Burnage 2011b
999:
997:
993:
989:
988:Burnage 2011b
984:
982:
980:
978:
974:
971:, p. 54.
970:
965:
962:
959:, p. 55.
958:
953:
950:
947:, p. 53.
946:
941:
938:
934:
933:Burnage 2011b
929:
926:
914:
913:
908:
902:
896:
894:
890:
887:, p. 22.
886:
881:
879:
877:
873:
869:
868:Burnage 2011b
864:
861:
857:
856:Burnage 2011b
852:
850:
846:
843:, p. 63.
842:
837:
834:
830:
829:Robinson 2007
825:
822:
809:
805:
799:
796:
793:, p. 31.
792:
791:Burnage 2011d
787:
785:
781:
778:, p. 86.
777:
772:
769:
765:
764:Burnage 2011a
760:
757:
754:, p. 23.
753:
748:
745:
740:
732:
728:
724:
723:
715:
712:
706:
701:
691:
688:
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495:
490:
486:
478:
476:
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469:
467:
463:
454:
450:
449:The Parthenon
444:
439:
437:
433:
432:The Parthenon
428:
425:
421:
420:
414:
413:
408:
406:
402:
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376:
372:
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369:Paul Veronese
365:
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308:
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270:
269:Ancient Greek
266:
265:Elgin Marbles
262:
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92:
88:
84:
83:Elgin Marbles
80:
76:
72:
68:
67:
56:
53:Engraving by
49:
38:
34:
28:
19:
1883: (1843)
1878:
1870:
1862:
1859: (1837)
1854:
1851: (1835)
1846:
1843: (1833)
1838:
1835: (1832)
1830:
1827: (1832)
1822:
1819: (1830)
1814:
1811: (1828)
1806:
1803: (1828)
1798:
1795: (1825)
1791:
1790:
1787: (1821)
1782:
1769:William Etty
1712:
1685:
1658:
1631:
1614:
1593:William Etty
1592:
1563:
1536:
1509:
1482:
1455:
1448:Bibliography
1441:, p. 2.
1434:
1422:
1410:
1383:
1371:
1342:
1315:
1303:
1294:
1290:
1284:
1275:
1271:
1265:
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1225:
1216:
1210:
1201:
1197:
1191:
1182:
1178:
1172:
1163:
1159:
1153:
1141:
1129:
1101:
1097:
1074:
1062:
1053:
1047:
1023:
1019:
964:
952:
940:
928:
916:. Retrieved
910:
863:
836:
824:
812:. Retrieved
808:the original
798:
771:
759:
747:
720:
714:
690:
682:
681:having seen
678:
674:
666:
665:states that
662:
657:
648:
641:John Flaxman
635:
627:
621:
616:
606:
602:
598:
581:
579:
573:
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448:
441:
435:
431:
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417:
410:
409:
404:
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394:
392:
386:
383:John Flaxman
378:
361:
356:
354:
340:
338:
327:
314:
311:John Flaxman
306:
302:
300:
291:
282:
280:
274:
273:
258:
237:
231:
217:
213:
209:
205:
199:
196:nude figures
191:
187:
181:
179:
143:William Etty
141:
135:
108:
103:
87:moral lesson
75:William Etty
71:oil painting
65:
64:
63:
37:William Etty
32:
18:
1245:"Preface".
969:Smith 2001a
957:Smith 2001b
945:Smith 2001b
814:10 February
489:John Martin
313:'s drawing
247:Composition
159:Old Masters
138:was painted
116:John Martin
69:is a large
1914:Categories
1439:Smith 1996
1347:Smith 1996
776:Smith 1996
741:required.)
702:References
683:The Combat
675:The Combat
667:The Combat
574:The Combat
566:The Combat
554:The Combat
531:The Combat
527:The Combat
513:The Combat
485:The Combat
466:The Combat
453:The Combat
451:review of
436:The Combat
424:The Combat
405:The Combat
401:The Combat
399:felt that
387:The Combat
357:The Combat
307:The Combat
303:The Combat
296:Old Master
292:The Combat
283:The Combat
136:The Combat
126:Background
104:The Combat
1776:Paintings
1650:751047871
1582:800599710
1555:800599710
1528:800599710
1501:800599710
1474:800599710
1364:Farr 1958
1335:Farr 1958
1320:Farr 1958
1308:Farr 1958
1232:The Times
1217:The Times
1122:Farr 1958
1054:The Times
1040:Farr 1958
841:Farr 1958
639:Sculptor
590:Footnotes
558:Cleopatra
535:engraving
419:The Times
351:Reception
347:in 1825.
330:oil study
261:classical
192:Cleopatra
91:near-nude
55:G. T. Doo
1900:(master)
1731:50312858
1704:52102470
1677:36208423
1613:(1855).
446:—
173:and the
1891:Related
1623:2135826
1603:2470159
1257:1761936
628:Visions
562:Pandora
521:(1837).
222:guineas
214:Pandora
210:Pandora
1729:
1719:
1702:
1692:
1675:
1665:
1648:
1638:
1621:
1601:
1580:
1570:
1553:
1543:
1526:
1516:
1499:
1489:
1472:
1462:
1255:
735:
479:Legacy
167:Rubens
163:Titian
918:7 May
707:Notes
96:mercy
1727:OCLC
1717:ISBN
1700:OCLC
1690:ISBN
1673:OCLC
1663:ISBN
1646:OCLC
1636:ISBN
1619:OCLC
1599:OCLC
1578:OCLC
1568:ISBN
1551:OCLC
1541:ISBN
1524:OCLC
1514:ISBN
1497:OCLC
1487:ISBN
1470:OCLC
1460:ISBN
1253:OCLC
920:2024
816:2015
564:and
309:and
165:and
151:Hull
147:York
899:UK
727:doi
537:by
381:by
371:."
1916::
1725:.
1698:.
1671:.
1644:.
1576:.
1549:.
1522:.
1495:.
1468:.
1395:^
1354:^
1327:^
1293:.
1274:.
1200:.
1181:.
1162:.
1110:^
1102:22
1100:.
1086:^
1032:^
1024:87
1022:.
1010:^
995:^
976:^
909:.
892:^
875:^
848:^
783:^
560:,
35:,
1761:e
1754:t
1747:v
1733:.
1706:.
1679:.
1652:.
1625:.
1605:.
1584:.
1557:.
1530:.
1503:.
1476:.
1295:2
1276:1
1259:.
1202:2
1183:2
1164:6
922:.
818:.
733:.
729::
389:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
