Cleopatra's Arrival in Cilicia (also known as The Triumph of Cleopatra) is based loosely on Plutarch's Life of Antony and Shakespeare's Antony and Cleopatra, in which the Queen of Egypt travels to Tarsus in Cilicia aboard a grand ship to cement an alliance with the Roman general Mark Antony.
While superficially similar to The Coral Finder, Cleopatra is more closely related to the style of Regnault, with its intentionally cramped and crowded composition.
The individual figures are out of proportion to each other and the ship, while many figures are tightly positioned within a small section of the painting.
As well as from Regnault, the work borrows elements from Titian, Rubens and classical sculpture.

When exhibited in 1821, Cleopatra was generally extremely well received, and considered among the finest paintings of its kind, and its success inspired Etty to paint more works in a similar vein.
The exhibition of Cleopatra, coupled with the exhibition in January 1822 of A Sketch from One of Gray's Odes (Youth on the Prow) which also depicted nude figures on a boat, drew criticism of Etty for his treatment of female nudes.
The Times in early 1822 chided Etty, remarking that "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."
Unlike nude studies by other artists of the period, Etty made no attempt to idealise the female nudes in Cleopatra, but instead painted them in realistic poses and realistic flesh tones.
Possibly alarmed by the criticism, Freeling persuaded Etty to paint clothes onto some of the figures in Cleopatra, although in 1829 he allowed Etty to return the figures to the state in which he had originally painted them.

The success of Cleopatra notwithstanding, Etty remained a student at the RA and continued with a rigorous programme of study.
Now in his mid 30s, he felt that for his work to progress beyond mere competence he needed a chance to study those European masters whose styles he most admired, despite his unpleasant experiences the last time he left England.
Cleopatra's Arrival in Cilicia (also known as The Triumph of Cleopatra) is based loosely on Plutarch's Life of Antony and Shakespeare's Antony and Cleopatra, in which the Queen of Egypt travels to Tarsus in Cilicia aboard a grand ship to cement an alliance with the Roman general Mark Antony. While superficially similar to The Coral Finder, Cleopatra is more closely related to the style of Regnault, with its intentionally cramped and crowded composition. The individual figures are out of proportion to each other and the ship, while many figures are tightly positioned within a small section of the painting. As well as from Regnault, the work borrows elements from Titian, Rubens and classical sculpture.
When exhibited in 1821, Cleopatra was generally extremely well received, and considered among the finest paintings of its kind, and its success inspired Etty to paint more works in a similar vein. The exhibition of Cleopatra, coupled with the exhibition in January 1822 of A Sketch from One of Gray's Odes (Youth on the Prow) which also depicted nude figures on a boat, drew criticism of Etty for his treatment of female nudes. The Times in early 1822 chided Etty, remarking that "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." Unlike nude studies by other artists of the period, Etty made no attempt to idealise the female nudes in Cleopatra, but instead painted them in realistic poses and realistic flesh tones. Possibly alarmed by the criticism, Freeling persuaded Etty to paint clothes onto some of the figures in Cleopatra, although in 1829 he allowed Etty to return the figures to the state in which he had originally painted them.
The success of Cleopatra notwithstanding, Etty remained a student at the RA and continued with a rigorous programme of study. Now in his mid 30s, he felt that for his work to progress beyond mere competence he needed a chance to study those European masters whose styles he most admired, despite his unpleasant experiences the last time he left England.
William Etty