Bijgewerkt in oktober 2026 · gerangschikt op basis van onze populariteitsscore (zoekopdrachten, bezoeken en bestellingen per kunstwerk) · 2 werken van Edward Wright in onze catalogus
Kortom
Het Edward Wright schilderij dat de meeste mensen kennen is Sir Thomas Egerton, 1st Viscount Brackley (1540-1617) (1615), en u kunt het bekijken in het Dunham Massey Hall. Van de 2 werken van Edward Wright in onze catalogus zijn dit de 2 bekendste. Elk werk wordt voorzien van het jaartal, het museum en een korte toelichting over wat het werk zo bijzonder maakt.
Het museum met de meeste schilderijen op deze pagina.
| Museum | Stad | Werken van Edward Wright | Schilderijen uit deze lijst |
|---|---|---|---|
 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) |
Van 1615 tot 1734 beslaan de gedateerde werken van Edward Wright een periode van 120 jaar. Bekijk deze lange carrière jaar voor jaar.
Selecteer een jaar om de werken te bekijken.
Bovenaan de lijst staat Sir Thomas Egerton, 1st Viscount Brackley (1540-1617) (1615).
We hebben 2 werken van Edward Wright in onze catalogus, gedateerd van 1615 tot 1734.
U vindt de meeste van deze werken in Dunham Massey Hall. De bovenstaande museumlijst geeft een volledig overzicht.
Het oudste werk hier is Sir Thomas Egerton, 1st Viscount Brackley (1540-1617) (1615); het meest recente is ‘Old Parr’, Thomas Parr (1483?-1635) (after British (English) School of around 1635) (1734).
U kunt 2 van de werken op deze pagina zien in het Dunham Massey Hall, waaronder Sir Thomas Egerton, 1st Viscount Brackley (1540-1617) en ‘Old Parr’, Thomas Parr (1483?-1635) (after British (English) School of around 1635).
Ja. Elk schilderij op deze pagina is verkrijgbaar als handgeschilderde olieverfreproductie of als print, in de maat die bij u past. Open simpelweg de pagina van het schilderij om te bestellen.
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.
