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Sir Thomas Egerton, 1st Viscount Brackley (1540-1617)
Ръчно рисувана маслена репродукция от $181 28 × 36 cm
Размер като оригинала $520 99 × 123 cm Поръчайте в оригиналния размер →
Картината, която донесе слава на Edward Wright, е Sir Thomas Egerton, 1st Viscount Brackley (1540-1617) (1615); тя се намира в Dunham Massey Hall. От 2 произведения на Edward Wright в нашия каталог, тези 2 са най-обожавани – всяко от тях е представено с дата, музей и описание на това, което го прави уникално.
Класирани според нашия коефициент за популярност, който съчетава търсенията, посещенията и поръчките за всяко произведение. Обновено Ноември 2026. Всяко шедьовър на тази страница може да бъде поръчано като маслено репродукция на ръка с музейно качество или като художествен принт, в избран от Вас размер.
Музеят, който притежава най-голям брой от картините на тази страница.
| Музеи | Град | Творения на Edward Wright | Картини от този списък |
|---|---|---|---|
 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) |
От 1615 до 1734, 120 години от изкуството на Edward Wright, година по година, чрез най-добрите му картини.
Sir Thomas Egerton, 1st Viscount Brackley (1540-1617) (1615)
В нашия каталог са изброени 2 произведения на Edward Wright, датирани от 1615 до 1734.
Повечето от тях се намират в Dunham Massey Hall. В горната таблица музеите са изброени един по един.
Най-старата творба на тази страница е от Sir Thomas Egerton, 1st Viscount Brackley (1540-1617) (1615), а най-новата е от ‘Old Parr’, Thomas Parr (1483?-1635) (after British (English) School of around 1635) (1734).
Sir Thomas Egerton, 1st Viscount Brackley (1540-1617) и ‘Old Parr’, Thomas Parr (1483?-1635) (after British (English) School of around 1635) са сред 2-те произведения на тази страница, съхранявани в Dunham Massey Hall.
Да. Всяка картина на тази страница може да бъде поръчана като ръчно рисувано маслено репродукция музейно качество или като художествен принт в избран от Вас размер, директно от страницата на съответната картина.
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.
