Uppdaterad november 2026 · rangordnad efter vår popularitetspoäng (sökningar, besök och beställningar för varje verk) · 2 verk av Edward Wright i vår katalog
Kortfattat
Den mest kända målningen av Edward Wright är Sir Thomas Egerton, 1st Viscount Brackley (1540-1617) (1615), och du kan se den på Dunham Massey Hall. Av 2 verk av Edward Wright i vår katalog är dessa 2 de mest kända. Varje verk åtföljs av sitt årtal, sitt museum och en kort kommentar om vad som gör det unikt.
Museet som innehar flest av målningarna på denna sida.
| Museum | Stad | Verk av Edward Wright | Målningar från denna lista |
|---|---|---|---|
 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) |
Från 1615 till 1734 sträcker sig Edward Wrights daterade verk över 120 år. Bläddra genom den långa karriären år för år.
Välj ett år för att se dess verk.
Högst upp på listan står Sir Thomas Egerton, 1st Viscount Brackley (1540-1617) (1615).
Vi har 2 verk av Edward Wright i vår katalog, daterade från 1615 till 1734.
Du hittar de flesta av dem i Dunham Massey Hall. Listan över museer ovan ger en fullständig sammanställning.
Det äldsta verket här är Sir Thomas Egerton, 1st Viscount Brackley (1540-1617) (1615); det senaste är ‘Old Parr’, Thomas Parr (1483?-1635) (after British (English) School of around 1635) (1734).
Du kan se 2 av verken på denna sida på Dunham Massey Hall, inklusive Sir Thomas Egerton, 1st Viscount Brackley (1540-1617) och ‘Old Parr’, Thomas Parr (1483?-1635) (after British (English) School of around 1635).
Ja. Varje målning på denna sida finns tillgänglig som en handmålad oljereproduktion eller som ett tryck, i den storlek som passar dig. Gå bara in på målningens sida för att beställa.
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.
