Aktualizované november 2026 · zoradené podľa našej miery popularity (vyhľadávanie, návštevy a objednávky pre každou prácu) · 2 dielov umelca Edward Wright v našom katalógu
Stručne povedané
Obraz od Edward Wright, ktorý pozná väčšina ľudí, je Sir Thomas Egerton, 1st Viscount Brackley (1540-1617) (1615) a môžete si ho pozrieť v Dunham Massey Hall. Z 2 diel umelca Edward Wright v našom katalógu je týchto 2 najznámejších. Každá z nich obsahuje rok vytvorenia, názov múzeja a krátku poznámku o tom, čo ju robí výnimočnou.
Múzeum, ktoré vlastní najviac obrazov z tejto stránky.
| Múzeá | Mesto | Diela umelca Edward Wright | Obrazy z tohto zoznamu |
|---|---|---|---|
 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) |
Od 1615 až po 1734, diela umelca Edward Wright sa rozprestierajú po dobu 120 rokov. Prezrite si túto dlhú kariéru rok po roku.
Vyberte si rok a pozrite si jeho diela.
Na vrchole zoznamu je Sir Thomas Egerton, 1st Viscount Brackley (1540-1617) (1615).
V našom katalógu máme 2 diel od umelca Edward Wright, datovaných od 1615 do 1734.
Väčšinu z nich nájdete v Dunham Massey Hall. Zoznam múzeí vyššie obsahuje podrobný prehľad.
Najstaršie dielo je z Sir Thomas Egerton, 1st Viscount Brackley (1540-1617) (1615); najnovšie je z ‘Old Parr’, Thomas Parr (1483?-1635) (after British (English) School of around 1635) (1734).
Na tejto stránke môžete vidieť 2 diel v múzeu Dunham Massey Hall, vrátane Sir Thomas Egerton, 1st Viscount Brackley (1540-1617) a ‘Old Parr’, Thomas Parr (1483?-1635) (after British (English) School of around 1635).
Áno. Každý obraz na tejto stránke je dostupný ako ručne maľovaná olejná reprodukcia alebo ako tlač, v rozmeroch, ktoré vám vyhovujú. Pre objednanie stačí otvoriť stránku konkrétneho obrazu.
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.
