Physical description
Etty was unusual amongst Victorian artists in devoting his career to painting the nude. Even as an established artist and Royal Academician, he visited the life-class regularly to draw from the model. The condemnation his work attracted focused on the earthy sensual character of his models. Unlike those who painted more acceptable nudes, he made no attempt to refine or perfect the female body, but represented recognisably real lower-class women. He was criticised in The Times for presenting his models 'in the most gross and literal manner' rather than aiming for the 'exquisite idealities' of Titian. The career of life-model was thought to be perilously close to prostitution since it inevitably exposed even respectable girls to the possibility of sexual exploitation; and some commentators thought that the artist himself was at risk of seduction by any woman whose morals were such that she could appear naked before him. Thus Mary Magdalen, generally characterised as a prostitute, was a very appropriate subject in the context of this moral debate. This is an unusual version of the theme (which Etty painted repeatedly) which combines the seductive nudity and elaborate jewellery of the courtesan with the book, skull and crucifix which are the usual attributes of the penitent Magdalen.
Place of Origin
Great Britain, UK (probably, painted)
Date
ca. 1845 (painted)
Artist/maker
Etty, William (RA), born 1787 - died 1849 (artist)
Materials and Techniques
oil on canvas
Dimensions
Height: 53.9 cm estimate, Width: 63.5 cm estimate, Height: 70 cm framed, Width: 85 cm framed
Object history note
Purchased, 1873
Descriptive line
Oil painting, 'Study of a Magdalen', William Etty, ca. 1845
Bibliographic References (Citation, Note/Abstract, NAL no)
Parkinson, R., Victoria and Albert Museum, Catalogue of British Oil Paintings 1820-1860, London: HMSO, 1990, p. 85
The following is the full text of the entry:
"ETTY, William, RA (1787-1849)
Born York 10 March 1787, the son of a baker. Apprenticed to a printer at Hull, moved to London 1805, entered the RA Schools 1807 and studied with Sir Thomas Lawrence. Early works were mainly portraits and nude studies; his first large figure composition was 'The Coral Finder' (1820). Exhibited 138 works at the RA between 1811 and 1850, and 77 at the BI 1811-47. Travelled abroad in 1815/6, 1822, and 1830, principally to Paris and Italy. Elected ARA 1824, RA 1828. A retrospective exhibition was held at the Society of Arts 1849. Died York 13 November 1849. His studio sale was at Christie's 6-10 and 13-14 May 1850. Most admired in his lifetime for his large mythological subjects, but now perhaps more appreciated for his less finished and smaller studies of the nude.
LIT: A Gilchrist Life of William Etty 2 vols, 1855; W Gaunt and F G Roe Etty and the Nude Leigh-on-sea 1943; D Farr William Etty 1958
Study of a Magdalen
811-1873 Neg 82642
Canvas, 53.9 x 63.5 cm (21¼ x 25 ins)
Purchased 1873
Although described in previous catalogues as a 'nude female contemplating a crucifix', the 1873 Inventory of Art Objects adds that it is a study of a Magdalen, which is clearly evident. Gilchrist listed six paintings of the subject, of which only one, painted in 1845 and exhibited at the Society of Arts in 1849, could possibly be the present work.
The iconography is unusual in that it combines the nudity and elaborate earring of the courtesan Magdalen with the more traditional book, skull and crucifix of the penitent.
PROV: Presumably William Wethered, his sale Christie's 27 February 1858 (105, 'The Magdalene Reclining, a skull and crucifix before her'), bought Hoskins £11 11 s; acquired for £15 by the museum 1873.
EXH: ?Society of Arts 1849 (CXXI)
LIT: Gilchrist II, p340; Gaunt and Roe pl 38; Farr no 29, p137 "
Materials
Oil paint; Canvas
Techniques
Oil painting
Subjects depicted
Jewellery; Nudes; Mary Magdalene (Saint); Skull; Crucifix
Categories
Paintings
Collection code
PDP
