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Sir Thomas Egerton, 1st Viscount Brackley (1540-1617)
Håndmalet oliereproduktion fra $181 28 × 36 cm
Samme størrelse som originalen $520 99 × 123 cm Bestil i original størrelse →
Maleriet, der gjorde Edward Wright berømt, er Sir Thomas Egerton, 1st Viscount Brackley (1540-1617) (1615); det hænger på Dunham Massey Hall. Af de 2 værker af Edward Wright i vores katalog er disse 2 de mest beundrede, hver præsenteret med sit årstal, sit museum og det, der gør værket unikt.
Rangordnet efter vores popularitetsscore, som kombinerer søgninger, besøg og ordrer for hvert værk. Opdateret oktober 2026. Hvert mesterværk på denne side kan bestilles som en håndmalet oliereproduktion i museumskvalitet eller som et kunsttryk i den størrelse, du vælger.
Det museum, der rummer flest af malerierne på denne side.
| Museum | By | Værker af Edward Wright | Malerier fra denne liste |
|---|---|---|---|
 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) |
Fra 1615 til 1734, 120 års Edward Wrights kunst, år for år, gennem dens fineste malerier.
Sir Thomas Egerton, 1st Viscount Brackley (1540-1617) (1615)
Vores katalog indeholder 2 værker af Edward Wright, dateret fra 1615 til 1734.
De fleste af dem findes i Dunham Massey Hall. Tabellen ovenfor lister museerne enkeltvis.
Det tidligste på denne side er Sir Thomas Egerton, 1st Viscount Brackley (1540-1617) (1615), det seneste ‘Old Parr’, Thomas Parr (1483?-1635) (after British (English) School of around 1635) (1734).
Sir Thomas Egerton, 1st Viscount Brackley (1540-1617) og ‘Old Parr’, Thomas Parr (1483?-1635) (after British (English) School of around 1635) er blandt de 2 værker på denne side, som er i Dunham Massey Hall's samling.
Ja. Hvert maleri på denne side kan bestilles som en håndmalet oliereproduktion i museums kvalitet eller som et kunstprint i den størrelse, du ønsker, direkte fra maleriets egen side.
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.
