10月 2026 更新 · 当サイトの人気スコア（各作品の検索数、閲覧数、注文数）に基づくランキング · 52点の John Michael Wrightの作品がカタログにあります
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John Michael Wrightの作品として最も有名なものといえば、おそらくLondonのバッキンガム宮殿に展示されているJames, Duke of Cambridge (1663-67) (1666)でしょう。 Sir John Corbet of Adderley, 3rd Baronet (1676)とJohn Dryden (1668)が、人々がすぐにそれと分かる3つの作品を完成させています。 John Michael Wrightによる作品は、当カタログに52点あります。以下に、最もよく知られている52作品を、制作年、所蔵先、およびその特徴とともにご紹介します。
In this formal portrait, the young James Stuart, Duke of Cambridge (1663-67), meets our gaze from a moment frozen in the seventeenth century. The artist, John Michael Wright, captures the boy at a tender age of just three or four years. He is the second son of the Duke of York and Anne Hyde, a child of high station whose life remains poignantly brief. We see him not as a…
A single man occupies the space, anchored by a hand resting upon a table. Sir John Corbet of Adderley, 3rd Baronet, meets the viewer with a gaze of quiet, aristocratic certainty. He is a figure of substance, draped in the heavy architecture of seventeenth-century fashion. The light catches the sheen of his silk and the stiff, metallic embroidery of his waistcoat, carving his form out of a deep, near-black void.…
The man before us is John Dryden, a figure of immense intellectual weight who moves through the frame with a quiet, commanding presence. This portrait, painted by John Michael Wright, captures him at a transformative moment in his life. It is about 1668, a year that marks his ascent to a position of unique distinction. He stands not merely as a man, but as the first official Poet Laureate, a…
This oil on canvas portrait, titled Thomas Hobbes, was executed by the artist John Michael Wright. The work depicts the philosopher Thomas Hobbes, presenting the subject in a bust-length composition. The painting captures the likeness of the elderly man, focusing on the facial features and the upper torso.
In this oval portrait, we encounter Margaret Onley at nineteen, a moment captured in 1660. She is presented in a bust-length composition, her body turned slightly to the left while her gaze meets ours with a calm, poised expression. There is a quietude in her posture that suggests a life of high status and composure. The lighting, descending from the upper left, sculpts the features of her face, casting soft…
The portrait titled Mrs Edward Onley is a work by the English painter John Michael Wright. This oil on canvas depicts a single female figure positioned in a three-quarter length view. The subject is presented against a background that includes a landscape on the left and dark drapery on the right.
Margaret Onley sits in a quiet, three-quarter pose, her presence anchored against a vast, receding landscape. The light catches the crest of her white gown, turning the fabric into a landscape of its own, where deep shadows pool in the heavy folds of the silk. She holds a small object, perhaps a piece of fruit or a decorative vessel, accompanied by a single sprig of greenery. Her gaze is steady,…
George Vernon (1635/6-1702), the Builder of Sudbury Hall, is the subject of this oil on canvas by John Michael Wright. Executed about 1659, the portrait captures the man responsible for the construction of the Restoration mansion at Sudbury. Wright, a significant figure in the British school of painting, provides a formal likeness that emphasizes the sitter's social standing and authority.
In this portrait, we encounter Lady Anne Somerset, a woman whose presence is defined by a quiet, luminous dignity. She is presented in a three-quarter length pose, her figure emerging from a dark, atmospheric landscape that recedes into a twilight sky. The composition relies heavily on a chiaroscuro effect, where light is concentrated upon her face, neck, and chest, pulling her forward from the deep shadows of the background. There…
In this oval-format portrait, we encounter William Cavendish as a young man, captured in a moment of quiet composure. The composition focuses on a bust-length view, where the subject emerges from a dark, near-black background that pushes his presence toward the viewer. There is a certain stillness here, a sense of a life just beginning to settle into the weight of its own status. The lighting is directional, sweeping in…
Portrait of Mary Villiers, Duchess of Richmond, with her late son Esme and her daughter Mary1661
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William Cunningham, 8th Earl of Glencairn, about 1610 - 1664. Lord Chancellor of Scotland1661 · スコットランド国立肖像画館
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Sir Robert Shirley, 7th Bt Shirley of Staunton Harold, 6th Baron Ferres of Chantilly and 1st Earl Ferrers PC (1650-1717)1671 · Sudbury Hall
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Lord Henry Howard, 6th Duke of Norfolk, later Lord Howard of Castle Rising (1628-1684)1669 · Powys Castle Museum
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Lady Elizabeth Herbert (née Somerset), Countess of Powis, later Marchioness and (titular) Duchess of Powis (1633/4-1691)1674 · Powys Castle Museum
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Joanna Granville, Mrs Richard Thornhill, later Lady Thornhill (1635-1709)1666 · Lacock Abbey
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Susanna Hamilton, Countess of Cassillis, 1632 - 1694. First wife of the 7th Earl of Cassilis1662 · スコットランド国立肖像画館
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Portrait of Lady Catherine and Lady Charlotte Talbot1679 · National Gallery of Ireland
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Elizabeth Archer, Lady Croft (d.1709) (after John Michael Wright)1675 · Croft Castle
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Portrait of Mrs Salesbury with her Grandchildren Edward and Elizabeth Bagot1675
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これらの作品に最も頻繁に登場する4つの主題と、それぞれの代表的な例。
このページに掲載されている絵画を最も多く所蔵している 8 の美術館
| 美術館 | 都市 | John Michael Wrightの作品 | このリストの絵画 |
|---|---|---|---|
 ナショナル・ポートレート・ギャラリー |
ロンドン | 8 | John Dryden, Thomas Hobbes, The Family of Sir Robert Vyner |
 Sudbury Hall |
アシュボーン | 8 | Margaret Onley, Mrs George Vernon (1642-1675), aged 19, Mrs Edward Onley, Margaret Onley, Mrs George Vernon (1642-1675) |
 スコットランド国立肖像画館 |
Edinburgh | 4 | William Cunningham, 8th Earl of Glencairn, about 1610 - 1664. Lord Chancellor of Scotland, Sir William Bruce, c 1630 - 1710. Architect, Susanna Hamilton, Countess of Cassillis, 1632 - 1694. First wife of the 7th Earl of Cassilis |
 ロイヤル・コレクション |
ロンドン | 3 | Charles II (1630-1685), John Lacy (d. 1681), Portrait of a Lady |
| Powys Castle Museum | 2 | Lord Henry Howard, 6th Duke of Norfolk, later Lord Howard of Castle Rising (1628-1684), Lady Elizabeth Herbert (née Somerset), Countess of Powis, later Marchioness and (titular) Duchess of Powis (1633/4-1691) | |
 バッキンガム宮殿 |
London | 1 | James, Duke of Cambridge (1663-67) |
 イェール英国美術館 |
ニューヘイブン | 1 | Sir John Corbet of Adderley, 3rd Baronet |
 Hardwick Hall |
1 | William Cavendish, 1st Duke of Devonshire, KG, PC (1640-1707) as a Youth |
年代を選択して、その時代の代表作をご覧ください。
This oil on canvas portrait, titled Thomas Hobbes, was executed by the artist John Michael Wright. The work depicts the philosopher Thomas Hobbes, presenting the subject in a bust-length composition. The painting captures the likeness of the elderly man, focusing on the facial features and the upper torso.
In this formal portrait, the young James Stuart, Duke of Cambridge (1663-67), meets our gaze from a moment frozen in the seventeenth century. The artist, John Michael Wright, captures the boy at a tender age of just three or four years. He is the second son of the Duke of York and Anne Hyde, a child of high station whose life remains poignantly brief. We see him not as a…
A single man occupies the space, anchored by a hand resting upon a table. Sir John Corbet of Adderley, 3rd Baronet, meets the viewer with a gaze of quiet, aristocratic certainty. He is a figure of substance, draped in the heavy architecture of seventeenth-century fashion. The light catches the sheen of his silk and the stiff, metallic embroidery of his waistcoat, carving his form out of a deep, near-black void.…
The portrait titled Francisca Posthuma Legh, Lady Richard Brooke (b.1639/40) captures a moment of quiet aristocratic poise. Painted in 1683, the work presents the subject in a bust-length view, framed within the soft geometry of an oval vignette. This composition focuses the gaze entirely upon the sitter, isolating her presence against a dark, muted background.
リストのトップはバッキンガム宮殿, LondonのJames, Duke of Cambridge (1663-67) (1666)です。それに続くのはSir John Corbet of Adderley, 3rd Baronet (1676)、そしてJohn Dryden (1668)です。
49歳。John Michael Wrightは1617に生まれ、James, Duke of Cambridge (1663-67)は1666年の作品です。
James, Duke of Cambridge (1663-67), Sir John Corbet of Adderley, 3rd Baronet, John Dryden, Thomas Hobbes, Margaret Onley, Mrs George Vernon (1642-1675), aged 19, Mrs Edward Onley, Margaret Onley, Mrs George Vernon (1642-1675), George Vernon (1635/6-1702), the Builder of Sudbury Hall, Lady Anne Somerset, Lady Howard (1631-1662) と William Cavendish, 1st Duke of Devonshire, KG, PC (1640-1707) as a Youth。制作年および所蔵美術館については、上記のリストをご参照ください。
当カタログにはJohn Michael Wrightによる作品が52点あり、制作時期は1630から1683にわたります。
その多くはナショナル・ポートレート・ギャラリー (ロンドン), Sudbury Hall (アシュボーン) と スコットランド国立肖像画館 (Edinburgh)で見ることができます。上記の美術館リストに詳細が記載されています。
1660sは、他のどの時期よりも多くの作品が集中しています。このページにある全52点のうち17点がその時代の作品であり、そのうちJames, Duke of Cambridge (1663-67)点が含まれます。
ここにある最も古い作品はPortrait Of Charles Ii ) (1630)、最新の作品はFrancisca Posthuma Legh, Lady Richard Brooke (b.1639/40) (1683)です。
このページに掲載されている52点のうち、Man (20), Woman (17) と Lace (15)点
このページに掲載されている全52点のうち、35点にOil On Canvasが使用されています。
このページに掲載されている作品をご覧いただければわかる通り、Baroque
ナショナル・ポートレート・ギャラリー, ロンドンにあるJohn Dryden, Thomas Hobbes と The Family of Sir Robert Vynerを含む8点の作品を、このページでご覧いただけます。
はい。このページに掲載されているすべての絵画は、お手持ちのスペースに合わせたサイズで、手描きの油彩複製画またはプリントとしてご購入いただけます。作品のページを開いてご注文ください。
In the grand, sweeping tapestry of the seventeenth century, few threads are as intricately woven as those belonging to John Michael Wright. A painter whose life spanned the tumultuous transitions of the English Baroque, Wright was far more than a mere chronicler of faces; he was a bridge between worlds. His journey, stretching from the rugged artistic landscapes of Scotland to the sun-drenched, classical splendor of Rome, allowed him to synthesize a style that was uniquely his own—a delicate marriage of Northern meticulousness and Mediterranean drama. To look upon a Wright portrait is to witness a profound dialogue between the realism of the British tradition and the chiaroscuro mastery of the Italian masters.
Born in London around 1617, Wright’s early years were marked by a fascinating duality. While his baptismal records place him firmly in the heart of London's Shoe Lane district, the echoes of a Scottish upbringing resonate through much of his biographical narrative. This period of formative growth saw him under the tutelage of George Jamesone in Edinburgh, a master who laid the groundwork for Scottish portraiture. From Jamesone, Wright inherited an unwavering devotion to detail and an ability to capture the subtle textures of fabric and skin, traits that would later allow him to navigate the demanding expectations of the European aristocracy with unparalleled grace.
The true metamorphosis of Wright’s artistry occurred during his transformative sojourn in Rome around 1655. It was within this vibrant, intellectual crucible that the artist truly found his voice. By enrolling at the Accademia di San Luca, Wright immersed himself in a world where the shadows of Caravaggio still loomed large and the classical ideals of antiquity were breathed into every canvas. He moved among the luminaries of the papal court, absorbing the techniques of Pietro Testa and Giovanni Battista Gaulli. This exposure to the dramatic interplay of light and dark—the chiaroscuro—infused his work with a newfound emotional depth and compositional complexity.
This Roman period was not merely an academic exercise but a spiritual and professional awakening. The influence of the Italian Baroque provided him with the tools to elevate portraiture from simple likeness to profound psychological study. He learned to use light not just to illuminate, but to sculpt, creating figures that seemed to emerge from the darkness with a palpable, breathing presence. This period of intense development ensured that when he eventually returned to the British Isles, he brought with him a sophisticated, continental elegance that set him apart from his more localized contemporaries.
Upon his return to England, Wright’s reputation flourished as he became a sought-after figure within the opulent circles of the Stuart Court. His ability to capture the dignity and status of the era's elite made him a favored painter for figures such as Charles II and James II. Unlike the more flamboyant and often idealized works of Sir Peter Lely, Wright’s approach leaned toward a dignified realism. He possessed a rare talent for rendering the weight of velvet, the shimmer of silk, and the stoic character of his subjects, making his portraits enduring historical documents of 17th-century prestige.
His achievements extend beyond the mere execution of beautiful images; he was an artist-scholar who understood the cultural weight of his craft. His work stands as a testament to a period of immense political and social upheaval, capturing the faces of an era that was constantly redefining itself. Today, the significance of John Michael Wright lies in this very synthesis:
![Lord Mungo Murray [Am Morair Mungo Moireach] (1683) による John Michael Wright](/media/artworks/images-thumb/94/1c/941c03ed5fe8c77343d368ec138037ec.jpg)
