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Liste over de 2 mest kjente maleriene av Edward Wright
Oppdatert November 2026 · rangert etter vår popularitetsscore (søk, besøk og bestillinger for hvert verk) · 2 verk av Edward Wright i vår katalog
Sammendrag
Det mest kjente maleriet av Edward Wright er Sir Thomas Egerton, 1st Viscount Brackley (1540-1617) (1615), som er en del av samlingen til Dunham Massey Hall. Katalogen dokumenterer 2 verk av Edward Wright; de 2 oppføringene nedenfor er de mest kjente, oppført i rangert rekkefølge med dato, museum og beskrivelse.
Flest verk: Dunham Massey Hall
Edward Wright: de 10 viktigste maleriene
Edward Wright: innehavere av museer
Museet som innehar flest av maleriene på denne siden.
| Museum | By | Verker av Edward Wright | Malerier fra denne listen |
|---|---|---|---|
 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) |
Edward Wright: hovedmalerier etter år
De daterte verkene til Edward Wright på denne siden strekker seg fra 1615 til 1734, en periode på 120 år, presentert år for år.
Verk per år
Velg et år for å vise de viktigste maleriene fra det året.
Edward Wrights malerier: referansespørsmål
Hvilket maleri av Edward Wright er det mest kjente?Vis svaret
Sir Thomas Egerton, 1st Viscount Brackley (1540-1617) (1615)
Hvor mange verk av Edward Wright er dokumentert?Vis svaret
Katalogen inneholder 2 verk av Edward Wright, datert mellom 1615 og 1734.
Hvilke museer har de mest kjente maleriene til Edward Wright?Vis svaret
Hovedsakelig i Dunham Massey Hall. Tabellen over viser den fullstendige fordelingen.
Hvilke er de tidligste og de nyeste verkene av Edward Wright på denne listen?Vis svaret
Det eldste verket som er oppført her er fra Sir Thomas Egerton, 1st Viscount Brackley (1540-1617) (1615); det nyeste er fra ‘Old Parr’, Thomas Parr (1483?-1635) (after British (English) School of around 1635) (1734).
Hvilke verk av Edward Wright er i samlingen til Dunham Massey Hall?Vis svaret
Sir Thomas Egerton, 1st Viscount Brackley (1540-1617) og ‘Old Parr’, Thomas Parr (1483?-1635) (after British (English) School of around 1635) er blant de 2 verkene på denne siden i samlingen til Dunham Massey Hall.
Edward Wright: biografiske noter
The Quiet Hand of Edward Wright
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.
Works and Subjects
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.
A Legacy in Oil
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.