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Candaules, King of Lydia, Shews his Wife by Stealth to Gyges, One of his Ministers, as She Goes to Bed
''Candaules, King of Lydia, Shews his Wife by Stealth to Gyges, One of his Ministers, as She Goes to Bed'', also known as ''The Imprudence of Candaules'', is a oil painting on canvas by English artist William Etty, first exhibited in 1830. It shows a scene from the ''Histories'' by Herodotus, in which Candaules, king of Lydia, invites his bodyguard Gyges to hide in their bedroom and watch his wife Nyssia undress, to prove to him her beauty. Nyssia notices Gyges spying, and challenges him to either kill himself or Candaules as a punishment; Gyges chooses to kill Candaules and to become king in his place. The painting shows the moment at which Nyssia, at this point unaware that she is being watched by anyone other than her husband, removes the last of her clothes.
Etty hoped that his audience would take from the painting the moral lesson that women are not chattels and that men infringing on their rights will justly be punished, but made little effort to explain this to audiences. The painting was immediately controversial, and perceived as a cynical combination of a pornographic image and a violent and unpleasant narrative, and it was condemned as an immoral piece of the type one would expect from a foreign, not a British, artist. It was bought by Robert Vernon on its exhibition, and in 1847 was one of a number of paintings given by Vernon to the nation. The reputation of the work remained controversial in later years, and when ''The Art Journal'' bought the reproduction rights to Vernon's collection they did not distribute reproductions of ''Candaules''. In 1929 it was among a number of paintings transferred to the newly-expanded Tate Gallery, where it remains.
==Background==
William Etty (1787–1849), the seventh son of a York baker and miller, had originally been an apprentice printer in Hull, but on completing his seven-year apprenticeship at the age of 18 moved to London to become an artist.〔 Strongly influenced by the works of Titian and Rubens, he submitted a number of paintings to Royal Academy of Arts and the British Institution, all of which were either rejected outright or drew little attention when exhibited. In 1821 the Royal Academy accepted and exhibited one of his works, ''The Arrival of Cleopatra in Cilicia'' (also known as ''The Triumph of Cleopatra''). ''Cleopatra'' was extremely well received, and many of Etty's fellow artists greatly admired him. He was elected a full Royal Academician in 1828, ahead of John Constable.
Following the success of ''Cleopatra'', over the next decade Etty tried to replicate its success by painting nude figures in biblical, literary and mythological settings.〔(【引用サイトリンク】title=About the artist )〕 Between 1820 and 1829 Etty exhibited 15 paintings, of which 14 depicted nude figures. While some nude paintings by foreign artists existed in private collections in England, England had no tradition of nude painting and the display and distribution of nude material to the public had been suppressed since the 1787 Proclamation for the Discouragement of Vice. 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. Although his portraits of male nudes were generally well received, many critics condemned his repeated depictions of female nudity as indecent.〔
抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』
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