Ažurirano: новембар 2026 · rangirano prema našem koeficijentu popularnosti (pretrage, posete i porudžbine za svako delo) · 52 dela Džon Majkl Rajt u našem katalogu
Pregled
Prema ovom rangiranju, James, Duke of Cambridge (1663-67) (1666) je najpoznatije delo umetnika Džon Majkl Rajt; nalazi se u muzeju Buckingham Palace, London. Nakon toga slede Sir John Corbet of Adderley, 3rd Baronet (1676) i John Dryden (1668). Ova lista se zasniva na 52 dela umetnika Džon Majkl Rajt u katalogu i sadrži 52 najpoznatijih, uz datum, muzej u kojem se nalaze i opis za svaki unos.
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 · Muzej fine umetnosti u Hjustonu
15
William Cunningham, 8th Earl of Glencairn, about 1610 - 1664. Lord Chancellor of Scotland1661 · Scottish National Portrait Gallery
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 · Scottish National Portrait Gallery
32
Susanna Hamilton, Countess of Cassillis, 1632 - 1694. First wife of the 7th Earl of Cassilis1662 · Scottish National Portrait Gallery
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) čiji je Džon Majkl Rajt](/media/artworks/images-thumb/94/1c/941c03ed5fe8c77343d368ec138037ec.jpg)
Lord Mungo Murray [Am Morair Mungo Moireach]1683 · Scottish National Portrait Gallery
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
Četiri najčešće zastupljena motiva među ovim delima, od kojih svaki ima svoj najpoznatiji primer.
8 muzeja u kojima se nalazi najviše slika sa ove stranice.
| Muzej | Grad | Radovi umetnika Džon Majkl Rajt | Slike iz ovog spiska |
|---|---|---|---|
 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) |
 Scottish National Portrait Gallery |
Edinburg | 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) | |
 Buckingham Palace |
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 |
Izaberite deceniju da biste prikazali njeno glavne delo.
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, London. Sledeći unosi su Sir John Corbet of Adderley, 3rd Baronet (1676) i John Dryden (1668).
49 godina: Džon Majkl Rajt je rođen/a 1617, a delo James, Duke of Cambridge (1663-67) datirano je 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) i William Cavendish, 1st Duke of Devonshire, KG, PC (1640-1707) as a Youth. Gornja lista sadrži datum i muzej u kojem se svako od njih nalazi.
Katalog sadrži 52 dela umetnika Džon Majkl Rajt, datiranih između 1630 i 1683.
Prvenstveno u National Portrait Gallery (London), Sudbury Hall (Ashbourne) i Scottish National Portrait Gallery (Edinburg). Tabela muzeja iznad prikazuje punu distribuciju.
U periodi 1660s: 17 od 52 dela navedenih na ovoj stranici datiraju iz tog perioda, uključujući James, Duke of Cambridge (1663-67).
Najstarije datirano delo na ovoj listi je Portrait Of Charles Ii ) (1630), a najnovije je Francisca Posthuma Legh, Lady Richard Brooke (b.1639/40) (1683).
Man (21), Woman (18) i Lace (15) od ukupno 52 dela navedenih na ovoj stranici.
Oil On Canvas, u 38 od 52 dela navedenih na ovoj stranici.
Baroque, kao što je dokumentovano delima na ovoj stranici.
John Dryden, Thomas Hobbes i The Family of Sir Robert Vyner su među 8 dela na ovoj stranici u kolekciji National Portrait Gallery, London.
U veličanstvenom, sveobuhvatnom tapisu sedamnaestog veka, malo je niti onako zamršeno utkano kao što su pripadale Džonu Majklu Rajtu. Kao slikar čiji je život obuhvatio prevrtljive tranzicije engleskog baroka, Rajt je bio mnogo više od običnog hroničara lica; bio je most između svetova. Njegovo putovanje, koje se protezalo od grubih umetničkih pejzaža Škotske do sunčano osvetljenog, klasičnog sjaja Rima, omogućilo mu je da sintetizuje stil koji je bio jedinstveno njegov—delikatno venčanje severne pedantnosti i mediteranske drame. Pogledati Rajtov portret znači svedočiti dubokom dijalogu između realizma britanske tradicije i chiaroscuro majstorstva italijanskih majstora.
Rođen u Londonu oko 1617. godine, Rajtove rane godine obeležila je fascinantna dualnost. Dok ga krštene knjige postavljaju čvrsto u srce londonskog okruga Shoe Lane, eho škotskog odgajanja odjekuje kroz veći deo njegove biografske naracije. Ovaj period formativnog razvoja proveo je pod mentorstvom Džordža Džejmsona u Edinburgu, majstora koji je postavio temelje škotskog portretizma. Od Džejmsona, Rajt je nasledio nepokolebljivu posvećenost detaljima i sposobnost da uhvati suptilne teksture tkanine i kože, osobine koje će mu kasnije omogućiti da sa neprevaziđenom gracioznošću navigira kroz zahtevne očekivanja evropske aristokratije.
Prava metamorfoza Rajtove umetničke umetnosti dogodila se tokom njegovog transformativnog boravka u Rimu oko 1655. godine. Upravo u ovom živopisnom, intelektualnom krugu umetnik je zaista pronašao svoj glas. Upisivanjem u Accademia di San Luca, Rajt se uradio u svet gde su senke Karavdžija i dalje dominirale, a klasični ideali antike udahnuti u svako platno. Kretao se među luminarima papskog dvora, upijajući tehnike Pjetra Teste i Đovanija Batista Gaulija. Ovo izlaganje dramatičnoj igri svetla i tame—chiaroscuro—ulilo je u njegov rad novu emocionalnu dubinu i kompozicijsku složenost.
Ovaj rimski period nije bio samo akademska vežba, već duhovno i profesionalno buđenje. Uticaj italijanskog baroka pružio mu je alate da uzdigne portretstvo iz jednostavnog nalikovanja u duboku psihološku studiju. Naučio je da koristi svetlost ne samo da bi osvetlio, već da bi skulpturirao, stvarajući figure koje su delovale kao da izranjaju iz tame sa opipljivim, disajućim prisustvom. Ovaj period intenzivnog razvoja osigurao je da, kada se na kraju vratio na Britanska ostrva, sa sobom donese sofisticiranu, kontinentalnu eleganciju koja ga je izdvojila od njegovih lokalnijih savremenika.
Po povratku u Englesku, Rajtova reputacija je cvatila dok je postajao tražena figura u raskošnim krugovima Studartovog dvora. Njegova sposobnost da uhvati dostojanstvo i status elite tog doba učinila ga je omiljenim slikarom za ličnosti kao što su Čarls II i Džames II. Za razliku od ekscentričnih i često idealizovanih dela Ser Džonija Lileja, Rajtov pristup naginjao ka dostojanstvenom realizmu. Posedovao je redak talenat za prikazivanje težine baršuna, sjaja svile i stoicizma svojih subjekata, čineći svoje portrete trajnim istorijskim dokumentima prestiža 17. veka.
Njegova postignuća prevazilaze samu izvedbu lepih slika; bio je umetnik-prizemni učenjak koji je razumeo kulturni značaj svog zanata. Njegov rad stoji kao svedočanstvo perioda ogromnih političkih i društvenih previranja, hvatajući lica ere koja se neprestano redefiniše. Danas, značaj koji nosi Džon Majkl Rajt leži upravo u toj sintezi:
Kroz njegovu četkicu, elegancija Renesanse i energija baroka zauvek su se prepleli, ostavljajući za sobom nasleđe koje nastavlja da očarava savremeno oko.
