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Sir Thomas Egerton, 1st Viscount Brackley (1540-1617)
Репродукция маслом ручной работы от $181 28 × 36 cm
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Картина, принесшая Edward Wright мировую славу, — это Sir Thomas Egerton, 1st Viscount Brackley (1540-1617) (1615); она находится в Dunham Massey Hall. Из 2 работ Edward Wright в нашем каталоге эти 2 являются самыми признанными; для каждой указаны дата создания, музей и уникальные особенности.
Рейтинг основан на нашем показателе популярности, который учитывает количество поисковых запросов, посещений и заказов для каждой работы. Обновлено Октябрь 2026. Каждое произведение на этой странице можно заказать как высококачественную масляную репродукцию ручной работы или художественную печать в любом выбранном вами размере.
1 музеев, в которых находится больше всего картин со страницы.
| Музей | Город | Работы Edward Wright | Картины из этого списка |
|---|---|---|---|
 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 года — 120 лет творчества Edward Wright, год за годом, в лучших картинах.
Sir Thomas Egerton, 1st Viscount Brackley (1540-1617) (1615)
В нашем каталоге представлено 2 работ Edward Wright, созданных в период с 1615 по 1734.
Большинство из них находятся в Dunham Massey Hall. В таблице выше музеи перечислены по порядку.
Самая ранняя работа на этой странице датирована Sir Thomas Egerton, 1st Viscount Brackley (1540-1617) (1615), самая поздняя — ‘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) — одни из 2 работ на этой странице, хранящихся в Dunham Massey Hall.
Да. Каждую картину на этой странице можно заказать как высококачественную масляную репродукцию ручной работы или художественную печать в выбранном вами размере на странице самой картины.
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.
