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Sir Thomas Egerton, 1st Viscount Brackley (1540-1617)
Reprodução em óleo pintada à mão de $181 28 × 36 cm
Mesmo tamanho da original $520 99 × 123 cm Encomendar no tamanho original →
A pintura que tornou Edward Wright famoso é Sir Thomas Egerton, 1st Viscount Brackley (1540-1617) (1615); ela está exposta no Dunham Massey Hall. Dos 2 trabalhos de Edward Wright em nosso catálogo, estas 2 são as obras mais admiradas, cada uma apresentada com a sua data, o seu museu e o que a torna única.
Classificado de acordo com o nosso índice de popularidade, que combina buscas, visitas e pedidos de cada obra. Atualizado em Outubro 2026. Cada obra-prima nesta página pode ser encomendada como uma reprodução em óleo pintada à mão, com qualidade de museu, ou como uma impressão de fine art, no tamanho de sua escolha.
O museu que detém a maioria das pinturas desta página.
| Museus | Cidade | Obras de Edward Wright | Pinturas desta lista |
|---|---|---|---|
 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) |
De 1615 a 1734, 120 anos da arte de Edward Wright, ano após ano, através das suas mais belas pinturas.
Sir Thomas Egerton, 1st Viscount Brackley (1540-1617) (1615)
Nosso catálogo lista 2 obras de Edward Wright, datadas de 1615 a 1734.
A maioria deles está em Dunham Massey Hall. A tabela acima lista os museus um a um.
A obra mais antiga nesta página é de Sir Thomas Egerton, 1st Viscount Brackley (1540-1617) (1615), e a mais recente é de ‘Old Parr’, Thomas Parr (1483?-1635) (after British (English) School of around 1635) (1734).
Sir Thomas Egerton, 1st Viscount Brackley (1540-1617) e ‘Old Parr’, Thomas Parr (1483?-1635) (after British (English) School of around 1635) estão entre as 2 obras nesta página pertencentes ao Dunham Massey Hall.
Sim. Todas as pinturas desta página podem ser encomendadas como uma reprodução em óleo pintada à mão com qualidade de museu ou como uma impressão de fine art, no tamanho de sua escolha, a partir da própria página da pintura.
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.
