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Britomart Redeems/ Faire Amoret/ is an oil /painting on /canvas by /English/ artist William Etty,/ first exhibited/ in 1833 and /now in /Tate Britain. Intended to/ illustrate /the virtues/ of honour /and chastity, it /depicts a scene /from Edmund /Spenser's The/ Faerie Queene/ in which /the female /warrior/ Britomart slays/ the evil /magician Busirane/ and frees /his captive,/ the beautiful /Amoret. In /Spenser's /original poem /Amoret has/ been tortured/ and mutilated by/ the time /of her rescue,/ but Etty/ disliked the/ depiction /of violence /and portrayed/ her as unharmed. William Etty /was born /in York in/ 1787, the/ son of a/ miller and/ baker. He/ showed artistic /promise from/ an early/ age, but /his family /were financially /insecure,/ and at the /age of /12 he left/ school to/ become /an apprentice! / printer in/ Hull. On /completing his //seven-year /indenture he/ moved to /London "with/ a few pieces /of chalk-crayons/ in colours",/ with the aim/ of emulating/ the Old Masters/ and becoming /a history /painter. Etty/ gained acceptance /to the Royal/ Academy Schools/ in early 1807. /After a year /spent studying /under renowned/ portrait painter/ Thomas/ Lawrence, Etty/ returned to the/ Royal Academy, /drawing at/ the life class/ and copying /other paintings./ In 1821 /the Royal/ Academy exhibited /one of Etty's/ works, /The Arrival of/ Cleopatra in/ Cilicia (also known /as The Triumph /of Cleopatra)/. The painting/ 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./ He became well/ respected for/ his ability/ to capture flesh /tones accurately /in painting /and for his /fascination with /contrasts in /skin tones Despite being /a depicti! on /of an occult ritual, /a violent death,/ a near-nude /woman and strongly /implied sexual /torture, Britomart /Redeems Faire/ Amoret was/ uncontroversial/ on its first/ exhibition/ in 1833 /and was critically /well received/. Sold by Etty /to a private /collector in 1833,/ it passed through the hands/ of several/ more before /entering the /collection of the/ Lady Lever/ Art Gallery. /In 1958, it was /acquired /by the Tate /Gallery, and /it remains in the /collection of /Tate Britain.