Opdateret oktober 2026 · rangeret efter vores popularitetsscore (søgninger, besøg og ordrer for hvert værk) · 2 værker af Edward Wright i vores katalog
Kort sagt
Det mest kendte maleri af Edward Wright er Sir Thomas Egerton, 1st Viscount Brackley (1540-1617) (1615), som du kan se på Dunham Massey Hall. Ud af 2 værker af Edward Wright i vores katalog er disse 2 de mest kendte. Hvert værk er ledsaget af årstal, museum og en kort note om, hvad der gør det bemærkelsesværdigt.
Det museum, der rummer flest af malerierne på denne side.
| Museum | By | Værker af Edward Wright | Malerier fra denne liste |
|---|---|---|---|
 Dunham Massey Hall |
2 | Sir Thomas Egerton, 1st Viscount Brackley (1540-1617), ‘Old Parr’, Thomas Parr (1483?-1635) (after British (English) School of around 1635) |
Fra 1615 til 1734 strækker Edward Wright's daterede værker sig over 120 år. Gennemse den lange karriere år for år.
Vælg et årstal for at se værkerne fra det år.
Øverst på listen står Sir Thomas Egerton, 1st Viscount Brackley (1540-1617) (1615).
Vi har 2 værker af Edward Wright i vores katalog, dateret fra 1615 til 1734.
Du finder de fleste af dem i Dunham Massey Hall. Listen over museer ovenfor giver en fuldstændig oversigt.
Det tidligste værk her er Sir Thomas Egerton, 1st Viscount Brackley (1540-1617) (1615); det nyeste er ‘Old Parr’, Thomas Parr (1483?-1635) (after British (English) School of around 1635) (1734).
Du kan se 2 af værkerne på denne side på Dunham Massey Hall, herunder Sir Thomas Egerton, 1st Viscount Brackley (1540-1617) og ‘Old Parr’, Thomas Parr (1483?-1635) (after British (English) School of around 1635).
Ja. Hvert maleri på denne side er tilgængeligt som en håndmalet oliereproduktion eller som et print i den størrelse, der passer dig. Åbn blot maleriets side for at bestille.
The brushwork of Edward Wright suggests a man accustomed to the stillness of a studio and the steady gaze of his subjects. His life, which concluded in 1773, was spent capturing the likenesses of those who held weight in their own time. There is a certain patience in his approach, a way of settling the light upon a face that speaks of long hours spent observing the subtle shifts in shadow and bone. He did not seek to transform his subjects, but rather to record them as they were, capturing the weight of their status and the quiet reality of their presence.
His work often finds its way into the halls of significant estates, such as Dunham Massey Hall, where his paintings have been held for generations. These works act as windows into the social fabric of the past, preserving the likenesses of figures like Sir Thomas Egerton, 1st Viscount Brackley. In these portraits, one sees the careful attention paid to the textures of fabric and the specific dignity of the sitter's posture.
The surviving records of his hand reveal a focus on the people who shaped the era. His output is characterized by a commitment to the portrait, a genre that requires both technical precision and a calm temperament. His catalog includes:
In the depiction of Thomas Parr, there is a connection to the British School of around 1635, showing how his work sits within a broader tradition of English portraiture. He worked with the materials of his time to ensure that the character of the individual remained the central focus of the canvas.
To look at a Wright portrait is to see the intersection of a man's life and the era he inhabited. His ability to render the likeness of a Viscount or a historical figure like Old Parr shows a steady hand and a clear eye. He remained a painter until the end of his life in 1773, leaving behind a collection of works that continue to reside in private and public collections, holding the likenesses of the past in a quiet, permanent grip.
