Uuendatud november 2026 · järjestatud meie populaarsusindeksi järgi (otsingud, külastused ja tellimused igale teosele) · 52 teost John Michael Wright meie kataloogis
Kokkuvõte
Selle reitingu järgi on James, Duke of Cambridge (1663-67) (1666) kunstniku John Michael Wright kõige kuulsam teos; seda hoiab Buckinghami palee, London. Järgavad Sir John Corbet of Adderley, 3rd Baronet (1676) ja John Dryden (1668). See nimekiri põhineb kataloogis olevatele 52 teosele kunstnikult John Michael Wright ning esitab 51 kõige kuulsamat teost koos kuupäeva, muuseumi ja kirjeldusega.
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…
Colonel The Hon. John Russell (1620-1681)1659 · Ham House
12
Portrait of Mary Villiers, Duchess of Richmond, with her late son Esme and her daughter Mary1661
13
Sir Robert Rookwood1660 · Museum of Fine Arts
14
William Cunningham, 8th Earl of Glencairn, about 1610 - 1664. Lord Chancellor of Scotland1661 · Šoti Rahvusportreegalerii
15
Portrait Of Grace Wilbraham )1656
16
Margaret Spencer, Lady Arundell of Wardour (d.1704)1663 · Trerice
17
Mary Scrope, the Hon. Mrs Henry Arundell1663
18
George Vernon (1635-1702)1674 · Sudbury Hall
19
Called Colonel Vernon possibly Edward Vernon1665 · Sudbury Hall
20
Sir Robert Shirley, 7th Bt Shirley of Staunton Harold, 6th Baron Ferres of Chantilly and 1st Earl Ferrers PC (1650-1717)1671 · Sudbury Hall
21
Edward Onley1662 · Sudbury Hall
22
Lord Henry Howard, 6th Duke of Norfolk, later Lord Howard of Castle Rising (1628-1684)1669 · Powys Castle Museum
23
Lady Elizabeth Herbert (née Somerset), Countess of Powis, later Marchioness and (titular) Duchess of Powis (1633/4-1691)1674 · Powys Castle Museum
24
Joanna Granville, Mrs Richard Thornhill, later Lady Thornhill (1635-1709)1666 · Lacock Abbey
25
Sir Thomas Myddelton IV, 2nd Bt (1651-1684)1670
26
The Family of Sir Robert Vyner1673 · National Portrait Gallery
27
Barbara Palmer (née Villiers), Duchess of Cleveland1670 · National Portrait Gallery
28
Charles II (1630-1685)1673 · Royal Collection
29
John Lacy (d. 1681)1669 · Royal Collection
30
Sir William Bruce, c 1630 - 1710. Architect1664 · Šoti Rahvusportreegalerii
31
Susanna Hamilton, Countess of Cassillis, 1632 - 1694. First wife of the 7th Earl of Cassilis1662 · Šoti Rahvusportreegalerii
32
Portrait of Lady Catherine and Lady Charlotte Talbot1679 · National Gallery of Ireland
33
Francisca Posthuma Legh, Lady Richard Brooke (b.1639/40)1683 · Lyme Park
34
Elizabeth Archer, Lady Croft (d.1709) (after John Michael Wright)1675 · Croft Castle
35
An Unknown Young Woman1677 · Blickling Hall
36
Portrait of Mrs Salesbury with her Grandchildren Edward and Elizabeth Bagot1675
37![Lord Mungo Murray [Am Morair Mungo Moireach] (1683) autor John Michael Wright](/media/artworks/images-thumb/94/1c/941c03ed5fe8c77343d368ec138037ec.jpg)
Lord Mungo Murray [Am Morair Mungo Moireach]1683 · Šoti Rahvusportreegalerii
38
Thomas HobbesNational Portrait Gallery
39
Portrait of Sir Matthew Hale Kt Chief Justice of the King's Bench1609
40
Portrait Of Charles Ii )1630 · National Portrait Gallery
41
Portrait Of Mary Wilbraham )1661
42
Portrait of a LadyRoyal Collection
43
Elizabeth cromwellNational Portrait Gallery
44
Portrait of Mary, Duchess of Buckingham
45
Portrait of Sir John Corbet of Adderley, wearing the robes of the High Sheriff of Shropshire
46
Astraea Returns To Earth, Panel From The Whitehall Ceiling
47
Sir John Robinson, Lord Mayor
48
Portrait Of Magdalen Aston
49
Portrait of Lady Whyte-Dunne
50
George Jeffreys, 1st Baron Jeffreys of Wem1675 · National Portrait Gallery
51
Portrait Of Sir Neil O'neill )1658
Neli kõige sagedamini esindatud teemat nende teosede seas, millist igaüks on esindatud oma kõige tuntema näidega.
Kümne 8 muuseumi kollektsioonid, mis sisaldavad kõige rohkem sellel lehel esitatud teoseid.
| Muuseumid | Linn | John Michael Wright teosid | Selle nimekirja maalid |
|---|---|---|---|
 National Portrait Gallery |
London | 8 | John Dryden, Thomas Hobbes, The Family of Sir Robert Vyner |
 Sudbury Hall |
Ashbourne | 8 | Margaret Onley, Mrs George Vernon (1642-1675), aged 19, Mrs Edward Onley, Margaret Onley, Mrs George Vernon (1642-1675) |
 Šoti Rahvusportreegalerii |
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 |
 Royal Collection |
London | 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) | |
 Buckinghami palee |
London | 1 | James, Duke of Cambridge (1663-67) |
 Yale Center for British Art |
New Haven | 1 | Sir John Corbet of Adderley, 3rd Baronet |
 Hardwick Hall |
1 | William Cavendish, 1st Duke of Devonshire, KG, PC (1640-1707) as a Youth |
Valige vuosakülg, et näita selle peateos.
In this Portrait Of Charles Ii ) by John Michael Wright, the subject sits anchored within a darkened room, emerging from the shadows of a quiet, private space. A heavy curtain or drape hangs partially behind him, adding a sense of depth to the dim environment. He possesses long, curly hair that frames a face marked by a mustache, capturing a specific moment of seventeenth-century fashion. His presence is heavy…
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 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 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 view, framed within the soft geometry of an oval vignette. This composition focuses the gaze entirely upon the sitter, isolating her presence against a dark, muted background.
James, Duke of Cambridge (1663-67) (1666), Buckinghami palee, London. Järgnevad teosed on Sir John Corbet of Adderley, 3rd Baronet (1676) ja John Dryden (1668).
49 aastat: John Michael Wright sündis aastal 1617 ning teos James, Duke of Cambridge (1663-67) on pärinev aastast 1666.
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) ja William Cavendish, 1st Duke of Devonshire, KG, PC (1640-1707) as a Youth. Üleolev nimekiri sisaldab iga teose kuupõeva ja säilitav müsenum.
Kataloogis on 52 teost kunstnikult John Michael Wright, mis on pärinevad ajastust 1630 kuni 1683.
Peamiselt National Portrait Gallery (London), Sudbury Hall (Ashbourne) ja Šoti Rahvusportreegalerii (Edinburgh). Ülemine muuseumide tabel annab täieliku jaotuse.
Ajalisel perioodil 1660s: 17 51 sellel lehel loetletud teosest kuulub sellesse ajajuhku, sealhulgas James, Duke of Cambridge (1663-67).
Siin loeteldud kõige vanem teos on Portrait Of Charles Ii ) (1630); kõige uuem on Francisca Posthuma Legh, Lady Richard Brooke (b.1639/40) (1683).
Man (20), Woman (18) ja Lace (15), 51 sellel lehel loetletud teose külmest.
Oil On Canvas, 51 tööd sellel lehel, sellest 38 tööd.
Baroque, mida dokumenteerivad sellel lehel olevad teosed.
John Dryden, Thomas Hobbes ja The Family of Sir Robert Vyner on üks 8 teosest National Portrait Gallery, London kollektsioonis sellel lehel.
Seitsmenda sajandi suurel ja laiinal, küberpõlvilisel mustril on väheseid latti, mis oleksid nii intrikaatselt veedud kui John Michael Wright latted. Maalari elu, mis hõlmis inglise baroki turbulenteid üleminekuid, oli palju rohkem kui pelgalt nägude kronika; ta oli sild kahe maailma vahel. Tema teekond, mis ulatus Šotlandi rasketest kunstilisedest maastikudest kuni Rooma päikeseloojastasse klassikülisse ihtevusesse, võimaldas tal luua oma unikaalse stiili — delicate liit Põhja täpne detailide armastus ja Vahetuse dramaatika. Wrighti portreedi vaatamine on kui sügav dialoog Briti traditsiooni realismide ja Itaalia meistrite chiaroscuro meisterliku valguse ja varju mängu vahel.
Lahir Londonis umbes aastal 1617, ning Wrighti noorehoodi tähistas põneev duaalism. Kuigi tema ristamisdokumendid viitavad kindlalt Londoni Shoe Lane piirkonna südamele, kõlab tema biograafia läthrough Šotlandi kasvatuse ekos. See kasvuperiood viis teda Edinburghis George Jamesone õpetuse alla, meisterile, kes pani aluse Šotlandi portreetimaile. Jamesone'ilt päris Wrightilt vankumatu pühendumus detailidele ja võime vangistada kangaste ning naha peeneid tekstuure — omadusi, mis võimaldasid tal hiljem vaadelmatul elegantsil navigeerida Euroopa aristokraatia nõudlikke ootusi.
Wrighti kunstilise visiooni tõeline metamorfoos toimus tema transformatiivsel viibimisel Roomas umbes aastal 1655. Just selles vibratilises ja intellektuaalses sulatusõrudus leidis kunstnik oma true hääle. Uinudes Accademia di San Luca õppes, sukeldus Wright maailma, kus Caravaggio varjud ujusid endiselt üle ning antikvaari klassikaline ideaal hingas igasse linale. Ta liikus päpapliku hovila luminaaride ringis, omides Pietro Testa ja Giovanni Battista Gaulli tehnikad. See kokkupuutumine valguse ja pimeduse dramaticatilise vahetlusega — chiaroscuro — täisutas tema tööd uue emotsionaalse sügavuse ja kompositsioonilise keerukusega.
See Rooma periood ei olnud pelgalt akadeemiline haridus, vaid vaimne ja professionaalne ärkamine. Itaalia baroki mõju pakkus talle tööriistu, et tõsta portreetimaal lihtsast sarnikust sügava psühholoogilise uuringuni. Ta õppis kasutama valgust mitte ainult valgustamiseks, vaid skulptuuriliseks vorminguks, luues figuure, mis näilisidki pimedusest koonult tekevad üles paljudel, hingavatel ja elavatel.
See intensiivse arengu periood tagas, et kui ta lõpuks naasid Briti saartele, tõi ta endaga kaasa sofistikaatse, kontinentaalset elegantsi, mis eristas teda tema kohalikumatest kaaslaskonnast. Tema saavutused ulatusid kaugemale kui vaid kaunite piltide loomise juures; ta oli kunstnik-teadlane, kes mõistis oma käsitöö kultuurilist kaalu. Tema teos on tunnistuskunstlikult ajast, mis oli täis poliitilist ja sotsiaalset segadust, püüdes vangistada selle ajastu näod, mis oli pidevalt end uuesti määratlemas.
Pärast naasmist Inglisse õitnes Wrighti maine, kui ta sai sought-after (nõutav) tegelaseks Stuart'i hovide luksuslikus ringis. Tema võime vangistada selle ajastu eliiti väärikust ja staatust tegi temast lemmikmaali, keda palusid nii Charles II kui ka James II. Erinevalt Sir Peter Lely vulkaansest ja sageli idealiseeritud töödest, kallis Wrighti lähenemine väärikas realismile. Tal oli haruldane talent sameti kaalukuse, siidiga sära ja oma subjektide stoobilise iseloomu esitamisel, muutes tema portreedid 17. sajandi prestiiži püsivaks ajaloolisteks dokumentideks.
Tänapäeval John Michael Wrighti tähendus peitub just selles sünteesis:
Tema pintli läbi olid Renessansi elegantsus ja baroki energia igavesti seotud, jättes jälg, mis jätkub ka tänapäevase silma lummamist.
