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Sir Thomas Egerton, 1st Viscount Brackley (1540-1617)
Käsinmaalattu öljyreprosentio alkaen $181 28 × 36 cm
Alkuperäisen kokoinen $520 99 × 123 cm Tilaa alkuperäisen kokoisena →
Edward Wright tunnetuksi tehnyt maalaus on Sir Thomas Egerton, 1st Viscount Brackley (1540-1617) (1615); se on esillä Dunham Massey Hall -museossa. Edward Wright teoksista 2 teoksen valikoimassamme nämä 2 ovat arvostetuimpia; jokaisesta on esitelty päivämäärä, museo sekä teoksen erityispiirteet.
Sijoitus perustuu suosiotulokseemme, joka yhdistää kunkin teoksen hakuja, vierailuja ja tilauksia. Päivitetty lokakuu 2026. Jokainen tämän sivun mestariteos on tilattavissa museolaatuisena, käsinmaalattuna öljyreproduktiona tai taideprinttinä valitsemassasi koossa.
Museo, jossa on eniten tämän sivun maalauksista.
| Museo | Kaupunki | Edward Wright teokset | Tämän listan maalaukset |
|---|---|---|---|
 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) |
Vuosien 1615–1734 väliseltä ajalta, 120 vuotta Edward Wrightin taidetta, vuosi vuodelta, parhaiden maalauksien kautta.
Sir Thomas Egerton, 1st Viscount Brackley (1540-1617) (1615)
Luettelossamme on 2 teosta taiteilijalta Edward Wright, aikaväliltä 1615–1734.
Suurin osa niistä sijaitsee kohteessa Dunham Massey Hall. Yllä oleva taulukko listaa museot yksitellen.
Tämän sivun vanhin on Sir Thomas Egerton, 1st Viscount Brackley (1540-1617) (1615) ja uusin ‘Old Parr’, Thomas Parr (1483?-1635) (after British (English) School of around 1635) (1734).
Sir Thomas Egerton, 1st Viscount Brackley (1540-1617) ja ‘Old Parr’, Thomas Parr (1483?-1635) (after British (English) School of around 1635) ovat yksi 2 teoksesta tällä sivulla, jotka kuuluvat Dunham Massey Hall kokoelmaan.
Kyllä. Jokainen tämän sivun maalauksista voidaan tilata museolaatuisena, käsinmaalattuna öljyreprospektina tai taidepainoksena valitsemassasi koossa suoraan maalauksen omalta sivulta.
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.
