James, Duke of Cambridge (1663-67) (1666)はJohn Michael Wrightの最も有名な作品であり、Londonのバッキンガム宮殿に所蔵されています。 Sir John Corbet of Adderley, 3rd Baronet (1676)とJohn Dryden (1668)は、世界で最もよく知られている次の2つの作品です。 当カタログに含まれるJohn Michael Wrightの52作品の中から、コレクターや美術館の来館者が最も注目する52作品を厳選しました。各作品の制作年、所蔵美術館、そしてその背景にある物語をご紹介します。
各作品の検索数、閲覧数、および注文数を組み合わせた当サイトの人気スコアに基づきランキングを作成しています。最終更新：10月 2026 このページに掲載されているすべての名作は、ご希望のサイズで、美術館品質の手描き油彩複製画、またはファインアートプリントとしてご注文いただけます。
In this formal portrait, the young James Stuart, Duke of Cambridge (1663-67), meets our gaze from a moment frozen in the seventeenth century. The artist, John Michael Wright, captures the boy at a tender age of just three or four years. He is the second son of the Duke of York and Anne Hyde, a child of high station whose life remains poignantly brief. We see him not as a…
A single man occupies the space, anchored by a hand resting upon a table. Sir John Corbet of Adderley, 3rd Baronet, meets the viewer with a gaze of quiet, aristocratic certainty. He is a figure of substance, draped in the heavy architecture of seventeenth-century fashion. The light catches the sheen of his silk and the stiff, metallic embroidery of his waistcoat, carving his form out of a deep, near-black void.…
The man before us is John Dryden, a figure of immense intellectual weight who moves through the frame with a quiet, commanding presence. This portrait, painted by John Michael Wright, captures him at a transformative moment in his life. It is about 1668, a year that marks his ascent to a position of unique distinction. He stands not merely as a man, but as the first official Poet Laureate, a…
This oil on canvas portrait, titled Thomas Hobbes, was executed by the artist John Michael Wright. The work depicts the philosopher Thomas Hobbes, presenting the subject in a bust-length composition. The painting captures the likeness of the elderly man, focusing on the facial features and the upper torso.
In this oval portrait, we encounter Margaret Onley at nineteen, a moment captured in 1660. She is presented in a bust-length composition, her body turned slightly to the left while her gaze meets ours with a calm, poised expression. There is a quietude in her posture that suggests a life of high status and composure. The lighting, descending from the upper left, sculpts the features of her face, casting soft…
The portrait titled Mrs Edward Onley is a work by the English painter John Michael Wright. This oil on canvas depicts a single female figure positioned in a three-quarter length view. The subject is presented against a background that includes a landscape on the left and dark drapery on the right.
Margaret Onley sits in a quiet, three-quarter pose, her presence anchored against a vast, receding landscape. The light catches the crest of her white gown, turning the fabric into a landscape of its own, where deep shadows pool in the heavy folds of the silk. She holds a small object, perhaps a piece of fruit or a decorative vessel, accompanied by a single sprig of greenery. Her gaze is steady,…
George Vernon (1635/6-1702), the Builder of Sudbury Hall, is the subject of this oil on canvas by John Michael Wright. Executed about 1659, the portrait captures the man responsible for the construction of the Restoration mansion at Sudbury. Wright, a significant figure in the British school of painting, provides a formal likeness that emphasizes the sitter's social standing and authority.
In this portrait, we encounter Lady Anne Somerset, a woman whose presence is defined by a quiet, luminous dignity. She is presented in a three-quarter length pose, her figure emerging from a dark, atmospheric landscape that recedes into a twilight sky. The composition relies heavily on a chiaroscuro effect, where light is concentrated upon her face, neck, and chest, pulling her forward from the deep shadows of the background. There…
In this oval-format portrait, we encounter William Cavendish as a young man, captured in a moment of quiet composure. The composition focuses on a bust-length view, where the subject emerges from a dark, near-black background that pushes his presence toward the viewer. There is a certain stillness here, a sense of a life just beginning to settle into the weight of its own status. The lighting is directional, sweeping in…
The man emerges from a dark, atmospheric landscape, his figure anchored by the weight of command. He is positioned in a three-quarter length view, slightly off-center, creating a…
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Thomas Povey (1613/14 - c.1705) by John Michael Wright presents a monochromatic portrait of a man, likely Thomas Povey, set within a dark and chaotic composition. The image…
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The artwork is the Portrait of Mary Villiers, Duchess of Richmond, with her late son Esme and her daughter Mary, executed by the artist John Michael Wright. Dated…
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Sir Robert Rookwood emerges from a deep, dark void, his figure commanding the space with a quiet, heavy authority. He sits in a three-quarter pose, his body angled…
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The gaze of William Cunningham, 8th Earl of Glencairn, about 1610 - 1664. Lord Chancellor of Scotland, meets the viewer with a quiet, commanding presence. Painted in 1661…
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The Portrait Of Grace Wilbraham ) is an oil on canvas work by the artist John Michael Wright. This portrait captures the likeness of Grace Wilbraham. The artist,…
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John Michael Wright painted Margaret Spencer, Lady Arundell of Wardour (d.1704) about 1663. This portrait belongs to a series of works the artist executed for the prominent Catholic…
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In this portrait, Mary Scrope, the Hon. Mrs Henry Arundell, meets our gaze through the brushwork of John Michael Wright. She appears as a woman of poise and…
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The shadows cling to the edges of the frame, pushing a young man forward into a sudden, luminous clarity. He sits in a quiet, oval-shaped space, his gaze…
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An oval composition captures a man in a three-quarter view, his gaze directed toward the viewer. The subject, identified by the inscription 'Col: Vernon', is rendered with the…
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A three-quarter length portrait from 1671 captures a young nobleman poised in an atmosphere of quiet authority. The subject is positioned slightly off-center, creating a sense of balanced…
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This formal 17th-century oil portrait presents Edward Onley, a gentleman captured with a quiet sense of dignity. Painted by John Michael Wright, the work offers a direct encounter…
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The portrait depicts Lord Henry Howard, 6th Duke of Norfolk, in a three-quarter length composition. He is positioned slightly off-center, facing the viewer with an eye-level perspective. The…
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The gaze of Lady Elizabeth Herbert (née Somerset), Countess of Powis, later Marchioness and (titular) Duchess of Powis (1633/4-1691), meets the viewer from within this oil on canvas.…
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A single pearl hangs from an ear, catching a sliver of light against the dark. Joanna Granville, later Lady Thornhill, sits in a quiet, three-quarter pose, her presence…
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The young nobleman, Sir Thomas Myddelton IV, occupies the space with a quiet, commanding gravity. He sits in a three-quarter length pose, his body angled slightly to create…
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The Family of Sir Robert Vyner is a formal group portrait by the artist John Michael Wright. Painted about 1673, the work captures a moment of familial assembly.…
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The Duchess of Cleveland emerges from a deep, shadowy landscape, her figure commanding the space with an effortless, regal poise. She stands in a three-quarter view, her presence…
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A single figure commands the center of the canvas, seated in a stillness that feels heavy with the gravity of rule. King Charles II is rendered with a…
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The oil on canvas work titled John Lacy (d. 1681) is a portrait by the artist John Michael Wright. The subject of the painting is an English comic…
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The portrait of Sir William Bruce, c 1630 - 1710. Architect, was painted by John Michael Wright in 1664. The subject is a Scottish gentleman-architect. He is recognized…
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In this bust-length portrait, John Michael Wright presents Susanna Hamilton, Countess of Cassillis, 1632 - 1694. First wife of the 7th Earl of Cassilis, within an intimate oval…
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In this portrait of Lady Catherine and Lady Charlotte Talbot, John Michael Wright employs a formal vertical arrangement to establish a sense of lineage and poise. The composition…
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The portrait titled Francisca Posthuma Legh, Lady Richard Brooke (b.1639/40) captures a moment of quiet aristocratic poise. Painted in 1683, the work presents the subject in a bust-length…
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The portrait titled Elizabeth Archer, Lady Croft (d.1709) (after John Michael Wright) captures a woman of quiet dignity. This work is by the artist John Michael Wright. It…
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An Unknown Young Woman is an oil on canvas portrait by John Michael Wright, executed about 1677. The work presents a formal study of a subject characterized by…
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This oil on canvas, titled Portrait of Mrs Salesbury with her Grandchildren Edward and Elizabeth Bagot, offers a quiet glimpse into the familial structures of the late seventeenth…
お部屋に飾る 〜 $231 →![Lord Mungo Murray [Am Morair Mungo Moireach] (1683) による John Michael Wright](/media/artworks/images-thumb/94/1c/941c03ed5fe8c77343d368ec138037ec.jpg)
The oil on canvas portrait titled Lord Mungo Murray [Am Morair Mungo Moireach] was executed by the artist John Michael Wright. This work is also identified by the…
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In this portrait, we encounter a man who seems to emerge from a profound, dark void, his presence defined by the quiet gravity of his gaze. The subject,…
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This portrait, titled George Jeffreys, 1st Baron Jeffreys of Wem, was executed by the British artist John Michael Wright in 1675. It presents a formal study of the…
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これらの傑作の中で最も頻繁に描かれる4つの主題と、それぞれの最高傑作をご紹介します。
このページに掲載されている絵画を最も多く所蔵している 8 の美術館
| 美術館 | 都市 | John Michael Wrightの作品 | このリストの絵画 |
|---|---|---|---|
 ナショナル・ポートレート・ギャラリー |
ロンドン | 8 | John Dryden, Thomas Hobbes, The Family of Sir Robert Vyner |
 Sudbury Hall |
アシュボーン | 8 | Margaret Onley, Mrs George Vernon (1642-1675), aged 19, Mrs Edward Onley, Margaret Onley, Mrs George Vernon (1642-1675) |
 スコットランド国立肖像画館 |
Edinburgh | 4 | William Cunningham, 8th Earl of Glencairn, about 1610 - 1664. Lord Chancellor of Scotland, Sir William Bruce, c 1630 - 1710. Architect, Susanna Hamilton, Countess of Cassillis, 1632 - 1694. First wife of the 7th Earl of Cassilis |
 ロイヤル・コレクション |
ロンドン | 3 | Charles II (1630-1685), John Lacy (d. 1681), Portrait of a Lady |
| Powys Castle Museum | 2 | Lord Henry Howard, 6th Duke of Norfolk, later Lord Howard of Castle Rising (1628-1684), Lady Elizabeth Herbert (née Somerset), Countess of Powis, later Marchioness and (titular) Duchess of Powis (1633/4-1691) | |
 バッキンガム宮殿 |
London | 1 | James, Duke of Cambridge (1663-67) |
 イェール英国美術館 |
ニューヘイブン | 1 | Sir John Corbet of Adderley, 3rd Baronet |
 Hardwick Hall |
1 | William Cavendish, 1st Duke of Devonshire, KG, PC (1640-1707) as a Youth |
This oil on canvas portrait, titled Thomas Hobbes, was executed by the artist John Michael Wright. The work depicts the philosopher Thomas Hobbes, presenting the subject in a…
In this formal portrait, the young James Stuart, Duke of Cambridge (1663-67), meets our gaze from a moment frozen in the seventeenth century. The artist, John Michael Wright,…
A single man occupies the space, anchored by a hand resting upon a table. Sir John Corbet of Adderley, 3rd Baronet, meets the viewer with a gaze of…
The portrait titled Francisca Posthuma Legh, Lady Richard Brooke (b.1639/40) captures a moment of quiet aristocratic poise. Painted in 1683, the work presents the subject in a bust-length…
James, Duke of Cambridge (1663-67) (1666)（バッキンガム宮殿, London）。続いてSir John Corbet of Adderley, 3rd Baronet (1676)、そしてJohn Dryden (1668)が続きます。
49歳：James, Duke of Cambridge (1663-67)は1666年の作品で、John Michael Wrightは1617生まれです。
James, Duke of Cambridge (1663-67), Sir John Corbet of Adderley, 3rd Baronet, John Dryden, Thomas Hobbes, Margaret Onley, Mrs George Vernon (1642-1675), aged 19, Mrs Edward Onley, Margaret Onley, Mrs George Vernon (1642-1675), George Vernon (1635/6-1702), the Builder of Sudbury Hall, Lady Anne Somerset, Lady Howard (1631-1662) と William Cavendish, 1st Duke of Devonshire, KG, PC (1640-1707) as a Youth。上記のランキングには、それぞれの制作年と所蔵美術館が記載されています。
当カタログには、1630年から1683年にかけて制作されたJohn Michael Wrightによる52点の作品が掲載されています。
その多くはナショナル・ポートレート・ギャラリー (ロンドン), Sudbury Hall (アシュボーン) と スコットランド国立肖像画館 (Edinburgh)に所蔵されています。上記の表に各美術館を一覧で記載しています。
1660sにおける作品は、このページにある全52点のうち17点にのぼり、その中にはJames, Duke of Cambridge (1663-67)が含まれます。
このページで最も古い作品はPortrait Of Charles Ii ) (1630)、最新の作品はFrancisca Posthuma Legh, Lady Richard Brooke (b.1639/40) (1683)です。
このページに掲載されている52作品のうち、Man (20), Woman (17) と Lace (15)
Oil On Canvas: このページには全52作品中35件の作品があります。
このページに掲載されている絵画が示す通り、Baroque
John Dryden, Thomas Hobbes と The Family of Sir Robert Vynerは、ナショナル・ポートレート・ギャラリー, ロンドンが所蔵するこのページ内の8点の作品のうちの一つです。
はい。このページに掲載されているすべての絵画は、各作品の個別ページから、ご希望のサイズで、美術館品質の手描き油彩複製画、またはファインアートプリントとしてご注文いただけます。
In the grand, sweeping tapestry of the seventeenth century, few threads are as intricately woven as those belonging to John Michael Wright. A painter whose life spanned the tumultuous transitions of the English Baroque, Wright was far more than a mere chronicler of faces; he was a bridge between worlds. His journey, stretching from the rugged artistic landscapes of Scotland to the sun-drenched, classical splendor of Rome, allowed him to synthesize a style that was uniquely his own—a delicate marriage of Northern meticulousness and Mediterranean drama. To look upon a Wright portrait is to witness a profound dialogue between the realism of the British tradition and the chiaroscuro mastery of the Italian masters.
Born in London around 1617, Wright’s early years were marked by a fascinating duality. While his baptismal records place him firmly in the heart of London's Shoe Lane district, the echoes of a Scottish upbringing resonate through much of his biographical narrative. This period of formative growth saw him under the tutelage of George Jamesone in Edinburgh, a master who laid the groundwork for Scottish portraiture. From Jamesone, Wright inherited an unwavering devotion to detail and an ability to capture the subtle textures of fabric and skin, traits that would later allow him to navigate the demanding expectations of the European aristocracy with unparalleled grace.
The true metamorphosis of Wright’s artistry occurred during his transformative sojourn in Rome around 1655. It was within this vibrant, intellectual crucible that the artist truly found his voice. By enrolling at the Accademia di San Luca, Wright immersed himself in a world where the shadows of Caravaggio still loomed large and the classical ideals of antiquity were breathed into every canvas. He moved among the luminaries of the papal court, absorbing the techniques of Pietro Testa and Giovanni Battista Gaulli. This exposure to the dramatic interplay of light and dark—the chiaroscuro—infused his work with a newfound emotional depth and compositional complexity.
This Roman period was not merely an academic exercise but a spiritual and professional awakening. The influence of the Italian Baroque provided him with the tools to elevate portraiture from simple likeness to profound psychological study. He learned to use light not just to illuminate, but to sculpt, creating figures that seemed to emerge from the darkness with a palpable, breathing presence. This period of intense development ensured that when he eventually returned to the British Isles, he brought with him a sophisticated, continental elegance that set him apart from his more localized contemporaries.
Upon his return to England, Wright’s reputation flourished as he became a sought-after figure within the opulent circles of the Stuart Court. His ability to capture the dignity and status of the era's elite made him a favored painter for figures such as Charles II and James II. Unlike the more flamboyant and often idealized works of Sir Peter Lely, Wright’s approach leaned toward a dignified realism. He possessed a rare talent for rendering the weight of velvet, the shimmer of silk, and the stoic character of his subjects, making his portraits enduring historical documents of 17th-century prestige.
His achievements extend beyond the mere execution of beautiful images; he was an artist-scholar who understood the cultural weight of his craft. His work stands as a testament to a period of immense political and social upheaval, capturing the faces of an era that was constantly redefining itself. Today, the significance of John Michael Wright lies in this very synthesis:
