The Three Graces
William Etty·1807
Historical Context
The Three Graces, painted around 1807 and now in the Metropolitan Museum of Art, addresses a classical subject that allowed Etty to pursue his lifelong artistic passion — the painting of the nude human figure. The Three Graces, companions of Venus representing beauty, charm, and creativity, had been painted by artists from Raphael to Rubens. Etty's treatment, created early in his Royal Academy training, shows the influence of Renaissance and Baroque models that he studied assiduously in London collections. Throughout his career Etty championed the nude as the highest form of artistic expression, a position that generated both admiration and controversy in the morally conservative atmosphere of Victorian Britain.
Technical Analysis
Etty's characteristic warm, sensuous handling of flesh is evident even in this early work. The three figures are modeled with rich, warm tones and soft transitions that reveal his study of Venetian colorism. The intimate millboard format allows for a more spontaneous, sketch-like approach than his larger exhibition paintings.
Look Closer
- ◆Notice the three figures modeled with rich, warm tones and soft transitions that reveal Etty's early study of Venetian colorism — the Three Graces allowed him to display three nude forms simultaneously.
- ◆Look at the intimate millboard format permitting a more spontaneous, sketch-like approach than his later large exhibition paintings.
- ◆Observe the classical subject — companions of Venus representing beauty, charm, and creativity — treated by Rubens, Raphael, and Canova, now essayed by the young Etty.
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