Aktualizované november 2026 · zoradené podľa našej miery popularity (vyhľadávanie, návštevy a objednávky pre každou prácu) · 52 dielov umelca John Michael Wright v našom katalógu
Zhrnutie
Podľa tohto poradia je James, Duke of Cambridge (1663-67) (1666) najznámejším obrazom umelca John Michael Wright; nachádza sa v múzeu Buckingham Palace v meste Londýn. Nasleduje ich Sir John Corbet of Adderley, 3rd Baronet (1676) a John Dryden (1668). Tento zoznam vychádza z 52 diel umelca John Michael Wright v katalógu a uvádza 52 najznámejších s dátumom, múzeou, v ktorej sa nachádzajú, a popisom pre každý záznam.
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
Thomas Povey (1613/14 - c.1705)1657
13
Portrait of Mary Villiers, Duchess of Richmond, with her late son Esme and her daughter Mary1661
14
Sir Robert Rookwood1660 · Museum of Fine Arts, Houston
15
William Cunningham, 8th Earl of Glencairn, about 1610 - 1664. Lord Chancellor of Scotland1661 · Škótska národná galéria portrétov
16
Portrait Of Grace Wilbraham )1656
17
Margaret Spencer, Lady Arundell of Wardour (d.1704)1663 · Trerice
18
Mary Scrope, the Hon. Mrs Henry Arundell1663
19
George Vernon (1635-1702)1674 · Sudbury Hall
20
Called Colonel Vernon possibly Edward Vernon1665 · Sudbury Hall
21
Sir Robert Shirley, 7th Bt Shirley of Staunton Harold, 6th Baron Ferres of Chantilly and 1st Earl Ferrers PC (1650-1717)1671 · Sudbury Hall
22
Edward Onley1662 · Sudbury Hall
23
Lord Henry Howard, 6th Duke of Norfolk, later Lord Howard of Castle Rising (1628-1684)1669 · Powys Castle Museum
24
Lady Elizabeth Herbert (née Somerset), Countess of Powis, later Marchioness and (titular) Duchess of Powis (1633/4-1691)1674 · Powys Castle Museum
25
Joanna Granville, Mrs Richard Thornhill, later Lady Thornhill (1635-1709)1666 · Lacock Abbey
26
Sir Thomas Myddelton IV, 2nd Bt (1651-1684)1670
27
The Family of Sir Robert Vyner1673 · National Portrait Gallery
28
Barbara Palmer (née Villiers), Duchess of Cleveland1670 · National Portrait Gallery
29
Charles II (1630-1685)1673 · Royal Collection
30
John Lacy (d. 1681)1669 · Royal Collection
31
Sir William Bruce, c 1630 - 1710. Architect1664 · Škótska národná galéria portrétov
32
Susanna Hamilton, Countess of Cassillis, 1632 - 1694. First wife of the 7th Earl of Cassilis1662 · Škótska národná galéria portrétov
33
Portrait of Lady Catherine and Lady Charlotte Talbot1679 · National Gallery of Ireland
34
Francisca Posthuma Legh, Lady Richard Brooke (b.1639/40)1683 · Lyme Park
35
Elizabeth Archer, Lady Croft (d.1709) (after John Michael Wright)1675 · Croft Castle
36
An Unknown Young Woman1677 · Blickling Hall
37
Portrait of Mrs Salesbury with her Grandchildren Edward and Elizabeth Bagot1675
38![Lord Mungo Murray [Am Morair Mungo Moireach] (1683) od John Michael Wright](/media/artworks/images-thumb/94/1c/941c03ed5fe8c77343d368ec138037ec.jpg)
Lord Mungo Murray [Am Morair Mungo Moireach]1683 · Škótska národná galéria portrétov
39
Thomas HobbesNational Portrait Gallery
40
Portrait of Sir Matthew Hale Kt Chief Justice of the King's Bench1609
41
Portrait Of Charles Ii )1630 · National Portrait Gallery
42
Portrait Of Mary Wilbraham )1661
43
Portrait of a LadyRoyal Collection
44
Elizabeth cromwellNational Portrait Gallery
45
Portrait of Mary, Duchess of Buckingham
46
Portrait of Sir John Corbet of Adderley, wearing the robes of the High Sheriff of Shropshire
47
Astraea Returns To Earth, Panel From The Whitehall Ceiling
48
Sir John Robinson, Lord Mayor
49
Portrait Of Magdalen Aston
50
Portrait of Lady Whyte-Dunne
51
George Jeffreys, 1st Baron Jeffreys of Wem1675 · National Portrait Gallery
52
Portrait Of Sir Neil O'neill )1658
Štyri najčastejšie zastúpené témy medzi týmito dielami, z ktorých každá má svoj najznámejší príklad.
8 múzeá, v ktorých sa nachádza najviac obrazov z tejto stránky.
| Múzeá | Mesto | Diela umelca John Michael Wright | Obrazy z tohto zoznamu |
|---|---|---|---|
 National Portrait Gallery |
Londýn | 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) |
 Škótska národná galéria portrétov |
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 |
Londýn | 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) | |
 Buckingham Palace |
Londýn | 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 |
Vyberte dekádu, aby ste si zobrazili jej hlavný obraz.
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), Buckingham Palace, Londýn. Nasledujúce položky sú Sir John Corbet of Adderley, 3rd Baronet (1676) a John Dryden (1668).
49 rokov: John Michael Wright sa narodil/a v 1617 a dielo James, Duke of Cambridge (1663-67) pochádza z roku 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) a William Cavendish, 1st Duke of Devonshire, KG, PC (1640-1707) as a Youth. Zoznam vyššie uvádza dátum a múzeu, v ktorom sa nachádza každá z nich.
Katalog obsahuje 52 diel umelca John Michael Wright datovaných v období od 1630 do 1683.
Primárne v National Portrait Gallery (Londýn), Sudbury Hall (Ashbourne) a Škótska národná galéria portrétov (Edinburgh). Tabuľka múzeí vyššie uvádza úplné rozdelenie.
V období 1660s: 17 z 52 diel uvedených na tejto stránke pochádza z tohto obdobia, vrátane James, Duke of Cambridge (1663-67).
Najstaršie datované dielo uvedené v tomto zozname pochádza z Portrait Of Charles Ii ) (1630); najnovšie je z Francisca Posthuma Legh, Lady Richard Brooke (b.1639/40) (1683).
Man (21), Woman (18) a Lace (15) z 52 diel uvedených na tejto stránke.
Oil On Canvas, z 38 z 52 diel uvedených na tejto stránke.
Baroque, ako to dokladujú diela na tejto stránke.
John Dryden, Thomas Hobbes a The Family of Sir Robert Vyner sa nachádzajú medzi 8 dielami na tejto stránke v kolekcii National Portrait Gallery, Londýn.
V grandióznej, rozvletenej tapetérii siedemdesiatich rokov siedemtiesiateho storočia je málo vlákien tak intrikatne zapletených, ako tie, ktoré patria John Michael Wright. Ako maliar, ktorého život pokrýval burzlivý prechod anglickým barokom, bol Wright oveľa viac než len prostým kronikárom tváří; bol mostom medzi svetmi. Jeho cesta, rozprestierajúca sa od drsnej umeleckej krajiny Škôl až po slnečným svetlom zalievanú klasickú nádheru Ríma, mu umožnila syntetizovať štýl, ktorý bol jedinečne jeho vlastným — jemné manželstvo severnej dôslednosti a mediterránskeho dramatu. Pozrieť sa na Wrightov portrét znamená byť svedkom hlbokého dialogu medzi realizmom britskej tradície a majstrovstvom chiaroscuro talianskych majstrov.
Narodený v Londýne okolo roku 1617, bol Wrightov raný vek poznačený fascinujúcnou dualitou. Zatiaľ čo jeho krstné listiny ho umiestňujú pevne do srdca londýnskej štvrte Shoe Lane, echa škótskeho výchovu rezonujú v mnohých častiach jeho životného príbehu. Toto obdobie formatívneho rastu strávil pod vedením George Jamesone v Edinburghu, majstra, ktorý položil základy škótskej portrétnej maľby. Od Jamesone Wright odziedzil neochvebnú oddanosť detailu a schopnosť zachytiť jemné textúry tecidoín a pokožky, vlastnosti, ktoré mu neskôr umožnili zvládať náročné očakávania európskej aristokracie s bezprecedentnou gráciou.
Skutočná metamorfóza Wrightovho umenia nastala počas jeho transformatívnej pobytu v Ríme okolo roku 1655. Práve v tomto živobnom, intelektuálnom tygle umenec skutočne našiel svoj hlas. Učastňujúc sa v Accademia di San Luca, Wright sa ponoril do sveta, kde tieň Caravaggia stále pôsobil dominantne a kde sa klasické ideály antiky vkládali do každého plátna. Pohyboval sa medzi luminármi pápežského dvora, pohlcujúc techniky Pietro Testu a Giovanni Battista Gaulli. Táto expozícia dramatickej hry svetla a tmy — chiaroscuro — infundovala jeho prácu novou emocionálnou hĺbkou a kompozičnou komplexnosťou.
Toto rímske obdobie nebolo len akademickou cvikou, ale duchovným a profesionálnym prebudením. Vplyv talianskeho baroka mu poskytol nástroje na pozdvihnutie portrétu z jednoduchého podobenstva na hlboký psychologický štúdium. Naučil sa používať svetlo nielen na osvetlenie, ale aj na modelovanie, čím vytváral postavy, ktoré sa zdali vyčnievať z temnoty s hmatateľnou, dychtivou prítomnosťou. Toto obdobie intenzívneho rozvoja zabezpečilo, že keď sa nakoniec vrátil na Britské ostrovy, priniesol so sebou sofistikovanú kontinentálnu eleganciu, ktorá ho odlíšila od jeho miestnejších súčasníkov.
Po návrate do Anglie Wrightova reputácia rozkvitala, keď sa stal žiadanou postavou v opulentných kruhoch dvora Stuartovcov. Jeho schopnosť zachytiť dôstojnosť a status elity danej éry z neho urobila obľúbeného maliara pre postavy ako Charles II a James II. Na rozdiel od odvážnejších a často idealizovaných diel Sir Peter Lely, Wrightov prístup smeroval k dôstojnému realizmu. Posiadal vzácny talent pre vykreslenie váhy zveládu, lesku hodvábu a stoického charakteru svojich subjektov, čím jeho portréty urobili z dlhodobých historických dokumentov prestíž 17. storočia.
Jeho úspechy presahujú len samotnú realizáciu krásnych obrazov; bol to umelec-scholastik, ktorý rozumel kultúrnej váhe svojého remesla. Jeho dielo stojí ako dôkaz obdobia obrovských politických a spoločenských nepokojov, zachytávajúc tváre éry, ktorá sa neustále redefinovala. Dnes spočíva význam Johna Michaela Wrighta v tejto samotnej syntéze:
Prostredníctvom jeho štetca sa elegancia renesancie a energia baroka navždy prepojili a zanechali odkaz, ktorý naďalej pútava moderné oko.
