Oppdatert November 2026 · rangert etter vår popularitetsscore (søk, besøk og bestillinger for hvert verk) · 2 verk av Edward Wright i vår katalog
Kort svar
Det mest kjente maleriet av Edward Wright er Sir Thomas Egerton, 1st Viscount Brackley (1540-1617) (1615); originalen befinner seg i Dunham Massey Hall. Av de 2 verkene av Edward Wright i vår katalog, er dette de 2 mest kjente, rangert med årstall og museum, slik at du kan velge maleriet du ønsker å bestille.
Museet som innehar flest av maleriene på denne siden.
| Museum | By | Verker av Edward Wright | Malerier fra denne listen |
|---|---|---|---|
 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 år med Edward Wright-malerier, fra 1615 til 1734: bla gjennom tidslinjen år for år og velg perioden du ønsker på veggen din.
Velg et år for å se maleriene fra det året.
Sir Thomas Egerton, 1st Viscount Brackley (1540-1617) (1615) rangerer som nummer én.
2 verk av Edward Wright finnes i vår katalog, datert fra 1615 til 1734.
Hovedsakelig i Dunham Massey Hall. Se museumstabellen ovenfor for den fullstendige listen.
Eldste på denne siden: Sir Thomas Egerton, 1st Viscount Brackley (1540-1617) (1615). Nyeste: ‘Old Parr’, Thomas Parr (1483?-1635) (after British (English) School of around 1635) (1734).
Dunham Massey Hall har 2 av maleriene som er rangert her, inkludert Sir Thomas Egerton, 1st Viscount Brackley (1540-1617) og ‘Old Parr’, Thomas Parr (1483?-1635) (after British (English) School of around 1635).
Ja. Alle malerier på denne siden kan bestilles som en håndmalt oljereproduksjon eller som et trykk. Åpne maleriet, velg størrelse og legg inn din bestilling.
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.
