Bijgewerkt in november 2026 · gerangschikt op basis van onze populariteitsscore (zoekopdrachten, bezoeken en bestellingen per kunstwerk) · 2 werken van Edward Wright in onze catalogus
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Het beroemdste schilderij van Edward Wright is Sir Thomas Egerton, 1st Viscount Brackley (1540-1617) (1615); het origineel bevindt zich in het Dunham Massey Hall. Van de 2 werken van Edward Wright in onze catalogus zijn dit de 2 bekendste, gerangschikt met elk hun jaartal en museum, zodat u het schilderij kunt kiezen om te bestellen.
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) |
120 jaar aan werken van Edward Wright, van 1615 tot 1734: blader jaar voor jaar door de tijdlijn en kies de periode die u aan uw muur wilt hangen.
Selecteer een jaar om de bijbehorende schilderijen te bekijken.
Sir Thomas Egerton, 1st Viscount Brackley (1540-1617) (1615) staat op de eerste plaats.
2 werken van Edward Wright zijn opgenomen in onze catalogus, gedateerd van 1615 tot 1734.
Voornamelijk in Dunham Massey Hall. Zie de museumtabel hierboven voor de volledige lijst.
Eerste op deze pagina: Sir Thomas Egerton, 1st Viscount Brackley (1540-1617) (1615). Laatste: ‘Old Parr’, Thomas Parr (1483?-1635) (after British (English) School of around 1635) (1734).
Het Dunham Massey Hall herbergt 2 van de schilderijen in deze ranglijst, 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 kan worden besteld als een handgeschilderde olieverfreproductie of als een print. Open het schilderij, kies de gewenste afmeting en plaats uw bestelling.
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.
