1
Sir Thomas Egerton, 1st Viscount Brackley (1540-1617)
Handmålad oljereproduktion från $181 28 × 36 cm
Samma storlek som originalet $520 99 × 123 cm Beställ i originalstorlek →
Målningen som gjorde Edward Wright känd är Sir Thomas Egerton, 1st Viscount Brackley (1540-1617) (1615); den hänger på Dunham Massey Hall. Av de 2 verk av Edward Wright i vår katalog är dessa 2 de mest beundrade, var och en presenterad med sitt datum, sitt museum och vad som utmärker dem.
Rankade efter vår popularitetspoäng, som kombinerar sökningar, besök och beställningar för varje verk. Uppdaterad november 2026. Varje mästerverk på denna sida kan beställas som en handmålad oljereproduktion av museikvalitet eller som ett konsttryck i den storlek du väljer.
Museet som innehar flest av målningarna på denna sida.
| Museum | Stad | Verk av Edward Wright | Målningar från denna 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) |
Från 1615 till 1734, 120 år av Edward Wrights konst, år för år, genom dess främsta målningar.
Sir Thomas Egerton, 1st Viscount Brackley (1540-1617) (1615)
Vår katalog innehåller 2 verk av Edward Wright, daterade från 1615 till 1734.
De flesta av dem finns i Dunham Massey Hall. Tabellen ovan listar museerna ett efter ett.
Det tidigaste på denna sida är Sir Thomas Egerton, 1st Viscount Brackley (1540-1617) (1615), det senaste ‘Old Parr’, Thomas Parr (1483?-1635) (after British (English) School of around 1635) (1734).
Sir Thomas Egerton, 1st Viscount Brackley (1540-1617) och ‘Old Parr’, Thomas Parr (1483?-1635) (after British (English) School of around 1635) är bland de 2 verk på denna sida som innehas av Dunham Massey Hall.
Ja. Varje målning på denna sida kan beställas som en handmålad oljereproduktion av museikvalitet eller som ett konsttryck i den storlek du väljer, direkt från målningens egen sida.
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.
