Päivitetty lokakuu 2026 · järjestetty suosituimmuuspisteiden mukaan (jokaisen teoksen haut, vierailut ja tilaukset) · 2 teosta taiteilijalta Edward Wright luettelossamme
Lyhyesti
Teos Sir Thomas Egerton, 1st Viscount Brackley (1540-1617) (1615) on se Edward Wright maalaus, jonka useimmat tuntevat, ja sen voit nähdä museossa Dunham Massey Hall. Edward Wrightin 2 teoksesta meidän valikoimassamme nämä 2 ovat tunnetuimpia. Jokaisesta on ilmoitettu vuosi, museo sekä lyhyt kuvaus siitä, mikä tekee teoksesta erityisen.
Museo, jossa on eniten tämän sivun maalauksista.
| Museo | Kaupunki | Edward Wright teokset | Tämän listan maalaukset |
|---|---|---|---|
 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) |
Vuodesta 1615 vuoteen 1734 asti Edward Wright on luonut teoksia yli 120 vuoden ajan. Selaa tätä pitkää uraa vuosi vuodelta.
Valitse vuosi nähdäksesi sen teokset.
Listan kärjessä on Sir Thomas Egerton, 1st Viscount Brackley (1540-1617) (1615).
Luettelossamme on 2 teosta taiteilijalta Edward Wright, aikaväliltä 1615–1734.
Löydät useimmat niistä Dunham Massey Hall. Yllä oleva museolista sisältää täydellisen erittelyn.
Vanhin teos täällä on Sir Thomas Egerton, 1st Viscount Brackley (1540-1617) (1615); uusin on ‘Old Parr’, Thomas Parr (1483?-1635) (after British (English) School of around 1635) (1734).
Voit nähdä tällä sivulla 2 teosta Dunham Massey Hall -museossa, mukaan lukien Sir Thomas Egerton, 1st Viscount Brackley (1540-1617) ja ‘Old Parr’, Thomas Parr (1483?-1635) (after British (English) School of around 1635).
Kyllä. Jokainen tämän sivun teos on saatavilla käsinmaalatun öljyreproosion tai painoksena juuri sinulle sopivassa koossa. Avaa teoksen sivu tilataksesi sen.
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.
