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22900 = Copia ( museum ) =
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22901 Copia : The American Center for Wine , Food & the Arts was a non @-@ profit museum and educational center in downtown Napa , California , dedicated to wine , food and the arts of American culture . The center , planned and largely funded by vintners Robert and Margrit Mondavi , was open from 2001 to 2008 . The museum had galleries , two theaters , classrooms , a demonstration kitchen , a restaurant , a rare book library , and a 3 @.@ 5 @-@ acre ( 1 @.@ 4 ha ) vegetable and herb garden ; there it hosted wine and food tasting programs , exhibitions , films , and concerts . The main and permanent exhibition of the museum , " Forks in the Road " , explained the origins of cooking through to modern advances . The museum 's establishment benefited the city of Napa and the development and gentrification of its downtown .
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22902 Copia hosted its opening celebration on November 18 , 2001 . Among other notable people , Julia Child helped fund the venture , which established a restaurant named Julia 's Kitchen . Copia struggled to achieve its anticipated admissions , and had difficulty in repaying its debts . Proceeds from ticket sales , membership and donations attempted to support Copia 's payoff of debt , educational programs and exhibitions , but eventually were not sufficient . After numerous changes to the museum to increase revenue , Copia closed on November 21 , 2008 . Its library was donated to Napa Valley College and its Julia Child cookware was sent to the National Museum of American History . The 12 @-@ acre ( 4 @.@ 9 ha ) property had been for sale since its closure ; the Culinary Institute of America purchased the northern portion of the property in October 2015 . The college intends to open a campus , the Culinary Institute of America at Copia , which will house the CIA 's new Food Business School .
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22903 = = History = =
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22904 = = = Name = = =
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22905 The museum was named after Copia , the Roman goddess of wealth and plenty . According to Joseph Spence in Polymetis ( 1755 ) , Copia is a name used to describe the goddess Abundantia in poetry , and was referred to as Bona Copia in Ovid 's Metamorphoses .
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22906 = = = Background = = =
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22907 The city of Napa has historically not received as many wine country tourists as the cities north of it . A $ 300 million flood management project around the turn of the 21st century to widen the Napa River and raise bridges prompted building developments . In the early 2000s , a large development was completed in the downtown area , as well as several hotels . Copia and the nearby Oxbow Public Market were two large developments also constructed around that time to increase tourist and media focus on the city of Napa .
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22908 The museum opened in 2001 , two months after the September 11 attacks . The museum 's visitor attendance was much lower than what was projected ; the museum partially attributed that to the depressed tourist economy stemming from the attacks .
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22909 = = = Conception and construction = = =
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22910 In 1988 , vintner Robert Mondavi , his wife Margrit Mondavi , and other members of the wine industry began to look into establishing an institution in Napa County to educate , promote , and celebrate American excellence and achievements in the culinary arts , visual arts , and winemaking . Three organizations supported the museum : the University of California at Davis , the Cornell University School of Hotel Administration , and the American Institute of Wine & Food . In 1993 , Robert Mondavi bought and donated the land for Copia for $ 1 @.@ 2 million ( $ 1 @.@ 97 million today ) , followed by a lead gift of $ 20 million ( $ 32 @.@ 8 million today ) . Mondavi chose the downtown Napa location with urging from his wife , who raised her children there . James Polshek was hired by the foundation as the architect for the building in October 1994 . Subsequently , the " Founding Seventy " , supporters from Napa Valley and the surrounding Bay Area , made substantial donations . Initial financing for Copia was $ 55 million ( $ 66 @.@ 8 million today ) , along with a $ 78 million ( $ 104 million today ) bond prior to opening in 2001 .
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22911 When the organization purchased the property , it was an empty lot next to a tire store . Steve Carlin , founder of the Oxbow Public Market , believed that Copia 's establishment helped expand Napa , its downtown area , and the Oxbow District . Construction of the facility triggered a significant growth in development of a gourmet marketplace , hotels and restaurants in downtown Napa . The museum began construction in 1999 and hosted opening celebrations on November 18 , 2001 . In 2005 , Copia sold 3 @.@ 5 acres ( 1 @.@ 4 ha ) to Intrawest for construction of a Westin hotel .
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22912 = = = Decline and bankruptcy = = =
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22913 Although the facility did attract visitors , local residents ' support failed to reach the numbers expected by the founders . Original projections of 300 @,@ 000 admissions per year were never met . In October 2006 , the museum announced plans to turn galleries into conference rooms , remove most of the museum 's focus on art , and lay off 28 of its 85 employees ( most of whom were security guards for the art gallery ) . At the time , Copia had $ 68 million ( $ 74 @.@ 7 million today ) in debt . That year the museum also lowered its original adult admission fee of $ 12 @.@ 50 to $ 5 . For three months in 2006 , the museum admitted guests free of charge , and attendance and revenue increased . The museum also began hosting weddings and renting its space more frequently in order to raise revenue . In 2007 , the museum altered its theme significantly by removing its focus on food and art , and instead focusing solely on wine . It replaced some of its gardens with vineyards , changed its displays to focus more on the history and aspects of wine and viticulture , and decreased the restaurant 's and programs ' focus on food .
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22914 In September 2008 , Garry McGuire announced that 24 of 80 employees were being laid off and the days of operation would be reduced from 7 to 3 per week . Attendance figures had never reached either original or updated projections , causing the facility to operate annually in the red since its opening . In November , he announced that the property would be sold due to unsustainable debt . The museum closed on Friday , November 21 , 2008 . The closure was without warning ; visitors who had arrived for scheduled events found a paper notice at the entrance that the center was temporarily closed . The next days ' events involving chef Andrew Carmellini and singer Joni Morris were also abruptly cancelled ; the museum later stated that it would reopen on December 1 . On that day , the organization ( with $ 80 million ( $ 87 @.@ 9 million today ) in debt ) filed for Chapter 11 bankruptcy protection . The federal bankruptcy court blocked a $ 2 million ( $ 2 @.@ 2 million today ) emergency loan with priority in security , leaving Copia with no funds to resume operations .
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22915 Writing about the failure of the project , The New York Times and other newspapers suggested that Copia had failed to clearly define its focus . Potential tourists were left feeling unsure whether they were visiting a museum , a cooking school , or a promotional center for wine .
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22916 = = = Aftermath = = =
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22917 Following the 2008 closing of Copia , a group of investors , developers , advocates , and vintners named the Coalition to Preserve Copia was formed to explore a plan to preserve the building and grounds . Part of the group 's plan included forming a Mello @-@ Roos district with participation of local hotel properties to finance bonds to purchase the property , but their effort failed . In May 2009 local developer George Altamura spoke about his interest in purchasing the property . Other developers including the Culinary Institute of America also expressed an interest in acquiring the property . Copia 's bond holder , ACA Financial Guaranty Corporation , listed the property for sale in October 2009 . Napa Valley College 's upper valley campus became the home of the center 's library of around 1 @,@ 000 cookbooks . By late 2010 , local chefs had revived the center 's garden and the parking lot had become the location of a weekly farmer 's market . In 2011 , the museum was reported to still maintain its original furnishings , with the gift store fully stocked and the restaurant still furnished . In an April 2012 auction , most of the center 's fixtures , furniture , equipment , wine collection ( around 3 @,@ 500 bottles ) , dinnerware , displays , artistic items , and antiquities were sold .
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22918 Since Copia 's closure , the building has been used for a few meetings and events , including the Napa Valley Film Festival and BottleRock Napa Valley . Triad Development arranged to buy the entire site in 2015 and planned mixed use with housing and retail . The company planned to build up to 187 housing units , 30 @,@ 000 square feet of retail space , and underground parking for 500 cars . The plan had later altered to only include purchase of the southern portion of the property . In 2015 , the Culinary Institute of America ( CIA ) put in motion plans to purchase a separate portion of Copia . The college intends to open a campus , the Culinary Institute of America at Copia , which will house the CIA 's new Food Business School . The school , which was outgrowing its St. Helena campus , purchased the northern portion of the property for $ 12 @.@ 5 million in October 2015 ( it was assessed for $ 21 @.@ 3 million around 2013 ) . Among the CIA 's first events there was 2016 's Flavor ! Napa Valley , a food and wine festival sponsored by local organizations . The campus is expected to open in late 2016 , with its Chuck Williams Culinary Arts Museum opening in 2017 . The museum will house about 4 @,@ 000 items of Chuck Williams , including cookbooks , cookware , and appliances .
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22919 = = Facilities = =
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22920 Copia is located on First Street in downtown Napa , adjacent to the Oxbow Public Market . The 12 @-@ acre ( 4 @.@ 9 ha ) property is surrounded by an oxbow of the Napa River . The two @-@ story building is 78 @,@ 632 square feet ( 7 @,@ 305 @.@ 2 m2 ) in size , and is primarily built from polished concrete , metal , and glass . The city 's farmers ' market has been located in Copia 's parking lot since 2004 .
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22921 It had a 13 @,@ 000 @-@ square @-@ foot ( 1 @,@ 200 m2 ) gallery for art , history , and science exhibits . It also had a 280 @-@ seat indoor theater , a 500 @-@ seat outdoor theater , classrooms , an 80 @-@ seat demonstration kitchen , a rare book library , a wine @-@ tasting area , a café ( named American Market Cafe ) , gift shop ( named Cornucopia ) , and 3 @.@ 5 acres ( 1 @.@ 4 ha ) of landscaped edible gardens . The building 's architect was Polshek Partnership Architects . Julia 's Kitchen was a restaurant inside the Copia building that focused on seasonal dishes and was named for honorary trustee Julia Child , who loaned part of her kitchen to the restaurant , a wall of 49 pans , pots , fish molds , and other tools and objects . Within a year of the center 's closing , the items were sent to the Smithsonian Institution 's National Museum of American History , where they are included in the Julia Child 's kitchen exhibit , which up until that point was only missing that portion . The restaurant had a 1 @,@ 700 @-@ square @-@ foot ( 160 m2 ) dining room ( for 180 seats ) , an outdoor seating area ( 4 @,@ 300 square feet ( 400 m2 ) ) and a 2 @,@ 500 @-@ square @-@ foot ( 230 m2 ) kitchen . The gardens had fruit orchards , a pavilion with a kitchen and large dining table , and a small vineyard with 60 vines and 30 different grape varieties . The restaurant and café were both operated by local caterer Seasoned Elements , and later Patina Restaurant Group .
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22922 The main and permanent exhibition of the museum , called " Forks in the Road : Food , Wine and the American Table " , had displays explaining the origins of cooking through to modern advances , and included a significant portion about the history of American winemaking . The museum 's opening art exhibition was called " Active Ingredients " , and had new works related to food by eight notable artists . Copia also had an annual exhibit and event called " Canstruction " , which began in 2005 . The event involved teams of architects , students , and designers creating sculptures from cans of food , which would later be donated to the Napa Valley Food Bank . The first year 's donation consisted of 42 @,@ 000 pounds of canned food .
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22923 = = Employees and visitor admissions = =
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22924 The founding director , Peggy Loar , left Copia in March 2005 , and was replaced by Arthur Jacobus that July ; in 2008 Jacobus was replaced by Chairman Garry McGuire Jr . , who resigned on December 5 , 2008 . The wine curator , Peter Marks , left around 2008 and was replaced with dean of wine studies Andrea Robinson . Around 2008 , McGuire hired celebrity chef Tyler Florence as dean of culinary studies . Florence oversaw the museum 's food programs and Julia 's Kitchen .
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22925 Museum attendance was initially forecast at 300 @,@ 000 ; to compare , the county had 4 @.@ 5 million tourists in 2001 . 205 @,@ 000 visitors attended in 2001 , 220 @,@ 000 visitors attended in 2002 , and 160 @,@ 000 attended in 2003 . 150 @,@ 000 visitors attended in 2007 .
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22926 = Youth on the Prow , and Pleasure at the Helm =
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22927 Youth on the Prow , and Pleasure at the Helm ( also known as Fair Laughs the Morn and Youth and Pleasure ) is an oil painting on canvas by English artist William Etty , first exhibited in 1832 and currently in Tate Britain . Etty had been planning the painting since 1818 – 19 , and an early version was exhibited in 1822 . The piece was inspired by a metaphor in Thomas Gray 's poem The Bard in which the apparently bright start to the notorious misrule of Richard II of England was compared to a gilded ship whose occupants are unaware of an approaching storm . Etty chose to illustrate Gray 's lines literally , depicting a golden boat filled with and surrounded by nude and near @-@ nude figures .
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22928 Etty felt that his approach to the work illustrated a moral warning about the pursuit of pleasure , but his approach was not entirely successful . The Bard was about a supposed curse on the House of Plantagenet placed by a Welsh bard following Edward I of England 's attempts to eradicate Welsh culture , and critics felt that Etty had somewhat misunderstood the point of Gray 's poem . Some reviewers greatly praised the piece , and in particular Etty 's technical abilities , but audiences of the time found it hard to understand the purpose of Etty 's painting , and his use of nude figures led some critics to consider the work tasteless and offensive .
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22929 The painting was bought in 1832 by Robert Vernon to form part of his collection of British art . Vernon donated his collection , including Youth on the Prow , and Pleasure at the Helm , to the National Gallery in 1847 , which , in turn , transferred it to the Tate Gallery in 1949 . It remains one of Etty 's best @-@ known works , and formed part of major exhibitions at Tate Britain in 2001 – 02 and at the York Art Gallery in 2011 – 12 .
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22930 = = Background = =
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22931 William Etty , the seventh son of a York baker and miller , had been an apprentice printer in Hull . On completing his seven @-@ year apprenticeship at the age of 18 he moved to London " with a few pieces of chalk crayons " , and the intention of becoming a history painter in the tradition of the Old Masters . He enrolled in the Schools of the Royal Academy of Arts , studying under renowned portrait painter Thomas Lawrence . He submitted numerous paintings to the Royal Academy over the following decade , all of which were either rejected or received little attention when exhibited .
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22932 In 1821 Etty 's The Arrival of Cleopatra in Cilicia ( also known as The Triumph of Cleopatra ) was a critical success . The painting featured nude figures , and over the following years Etty painted further nudes in biblical , literary and mythological settings . All but one of the 15 paintings Etty exhibited in the 1820s included at least one nude figure .
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22933 While some nudes existed in private collections , 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 .
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22934 = = Composition = =
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22935 Youth on the Prow , and Pleasure at the Helm was inspired by a passage in Thomas Gray 's poem The Bard . The theme of The Bard was the English king Edward I 's conquest of Wales , and a curse placed by a Welsh bard upon Edward 's descendants after he ordered the execution of all bards and the eradication of Welsh culture . Etty used a passage Gray intended to symbolise the seemingly bright start to the disastrous reign of Edward 's great @-@ great @-@ grandson Richard II .
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22936 Etty chose to illustrate Gray 's words literally , creating what has been described as " a poetic romance " . Youth and Pleasure depicts a small gilded boat . Above the boat , a nude figure representing Zephyr blows on the sails . Another nude representing Pleasure lies on a large bouquet of flowers , loosely holding the helm of the boat and allowing Zephyr 's breeze to guide it . A nude child blows bubbles , which another nude on the prow of the ship , representing Youth , reaches to catch . Naiads , again nude , swim around and clamber on the boat . Although the seas are calm , a " sweeping whirlwind " is forming on the horizon , with a demonic figure within the storm clouds . ( Deterioration and restoration means this demonic figure is now barely visible . ) The intertwined limbs of the participants were intended to evoke the sensation of transient and passing pleasure , and to express the themes of female sexual appetites entrapping innocent youth , and the sexual power women hold over men .
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22937 Etty said of his approach to the text that he was hoping to create " a general allegory of Human Life , its empty vain pleasures — if not founded on the laws of Him who is the Rock of Ages . " While Etty felt that the work conveyed a clear moral warning about the pursuit of pleasure , this lesson was largely lost upon its audiences .
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22938 When Etty exhibited the completed painting at the Royal Academy Summer Exhibition in 1832 , it was shown untitled , with the relevant six lines from The Bard attached ; writers at the time sometimes referred to it by its incipit of Fair Laughs the Morn . By the time of Etty 's death in 1849 , it had acquired its present title of Youth on the Prow , and Pleasure at the Helm .
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22939 = = Versions = =
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22940 The final version of Youth and Pleasure was painted between 1830 and 1832 , but Etty had been contemplating a painting on the theme since 1818 – 19 . In 1822 he had exhibited an early version at the British Institution titled A Sketch from One of Gray 's Odes ( Youth on the Prow ) ; in this version the group of figures on the prow is reversed , and the swimmers around the boat are absent . Another rough version of the painting also survives , similar to the 1832 version but again with the figures on the prow reversed . This version was exhibited at a retrospective of Etty 's work at the Society of Arts in 1849 ; it is dated 1848 but this is likely to be a misprint of 1828 , making it a preliminary study for the 1832 painting .
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22941 Although it received little notice when first exhibited , the 1822 version provoked a strong reaction from The Times :
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22942 We take this opportunity of advising Mr. Etty , who got some reputation for painting " Cleopatra 's Galley " , not to be seduced into a style which can gratify only the most vicious taste . Naked figures , when painted with the purity of Raphael , may be endured : but nakedness without purity is offensive and indecent , and on Mr. Etty 's canvass is mere dirty flesh . Mr. Howard , whose poetical subjects sometimes require naked figures , never disgusts the eye or mind . Let Mr. Etty strive to acquire a taste equally pure : he should know , that just delicate taste and pure moral sense are synonymous terms .
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22943 An oil sketch attributed to Etty , given to York Art Gallery in 1952 by Judith Hare , Countess of Listowel and entitled Three Female Nudes , is possibly a preliminary study by Etty for Youth and Pleasure , or a copy by a student of the three central figures . Art historian Sarah Burnage considers both possibilities unlikely , as neither the arrangement of figures , the subject matter or the sea serpent approaching the group appear to relate to the completed Youth and Pleasure , and considers it more likely to be a preliminary sketch for a now @-@ unknown work .
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22944 = = Reception = =
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22945 Youth on the Prow , and Pleasure at the Helm met with a mixed reception on exhibition , and while critics generally praised Etty 's technical ability , there was a certain confusion as to what the painting was actually intended to represent and a general feeling that he had seriously misunderstood what The Bard was actually about . The Library of the Fine Arts felt " in classical design , anatomical drawing , elegance of attitude , fineness of form , and gracefulness of grouping , no doubt Mr. Etty has no superior " , and while " the representation of the ideas in the lines quoted [ from The Bard ] are beautifully and accurately expressed upon the canvas " they considered " the ulterior reference of the poet [ to the destruction of Welsh culture and the decline of the House of Plantagenet ] was entirely lost sight of , and that , if this be the nearest that Art can approach in conveying to the eye the happy exemplification of the subject which Gray intended , we fear we must give up the contest upon the merits of poetry and painting . " Similar concerns were raised in The Times , which observed that it was " Full of beauty , rich in colouring , boldly and accurately drawn , and composed with a most graceful fancy ; but the meaning of it , if it has any meaning , no man can tell " , pointing out that although it was intended to illustrate Gray it " would represent almost as well any other poet 's fancies . " The Examiner , meanwhile , took issue with the cramped and overladen boat , pointing out that the characters " if not exactly jammed together like figs in a basket , are sadly constrained for want of room " , and also complained that the boat would not in reality " float half the weight which is made to press upon it . "
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22946 Other reviewers were kinder ; The Gentleman 's Magazine praised Etty 's ability to capture " the beauty of the proportion of the antique " , noting that in the central figures " there is far more of classicality than is to be seen in almost any modern picture " , and considered the overall composition " a most fortunate combination of the ideality of Poetry and the reality of Nature " . The Athenæum considered it " a poetic picture from a very poetic passage " , praising Etty for " telling a story which is very difficult to tell with the pencil " .
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22947 The greatest criticism of Youth and Pleasure came from The Morning Chronicle , a newspaper which had long disliked Etty 's female nudes . It complained " no decent family can hang such sights against their wall " , and condemned the painting as an " indulgence of what we once hoped a classical , but which are now convinced , is a lascivious mind " , commenting " the course of [ Etty 's ] studies should run in a purer channel , and that he should not persist , with an unhallowed fancy , to pursue Nature to her holy recesses . He is a laborious draughtsman , and a beautiful colourist ; but he has not taste or chastity of mind enough to venture on the naked truth . " The reviewer added " we fear that Mr. E will never turn from his wicked ways , and make himself fit for decent company . "
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22948 = = Legacy = =
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22949 Youth on the Prow , and Pleasure at the Helm was purchased at the time of its exhibition by Robert Vernon for his important collection of British art . ( The price Vernon paid for Youth and Pleasure is not recorded , although Etty 's cashbook records a partial payment of £ 250 — about £ 21 @,@ 000 in 2016 terms — so it is likely to have been a substantial sum . ) Vernon later purchased John Constable 's The Valley Farm , planning to hang it in the place then occupied by Youth and Pleasure . This decision caused Constable to comment " My picture is to go into the place — where Etty 's " Bumboat " is at present — his picture with its precious freight is to be brought down nearer to the nose . " Vernon presented his collection to the nation in 1847 , and his 157 paintings , including Youth and Pleasure , entered the National Gallery .