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The Family of Sir Robert Vyner seated before the garden at Swakeleys
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The_Family_of_Sir_Robert_Vyner_seated_before_the_garden_at_Swakeleys
mk190
Middlesex
1673
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unknown scottish chieftain, c.
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unknown_scottish_chieftain,_c.
1660
edinburgh,national portrait gallery
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Painting by John Michael Wright of Catherine Cecil and James Cecil,
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Painting_by_John_Michael_Wright_of_Catherine_Cecil_and_James_Cecil,
Painting by John Michael Wright (1617?C1694) of Catherine Cecil and James Cecil, later 4th Earl of Salisbury.
1669(1669)
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Catherine and James Cecil
new24/John Michael Wright-538866.jpg
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Catherine_and_James_Cecil
English: Painting by John Michael Wright (1617-1694) of Catherine Cecil and James Cecil, later 4th Earl of Salisbury.
Date 1669
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James Cecil by John Michael Wright
new24/John Michael Wright-777933.jpg
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James_Cecil_by_John_Michael_Wright
English: Painting by John Michael Wright (1617-1694) of Catherine Cecil and James Cecil, later 4th Earl of Salisbury: detail, James Cecil only.
Date 1669
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John_Michael_Wright
English Baroque Era Painter, ca.1617-1694,was a British baroque portrait painter. Wright trained in Edinburgh under the Scots painter George Jamesone, and acquired a considerable reputation as an artist and scholar during a long sojourn in Rome. There he was admitted to the Accademia di San Luca, and was associated with some of the leading artists of his generation. He was engaged by Archduke Leopold Wilhelm of Austria, the governor of the Spanish Netherlands, to acquire artworks in Oliver Cromwell's England in 1655. He took up permanent residence in England from 1656, and served as court painter before and after the English Restoration. A convert to Roman Catholicism, he was a favourite of the restored Stuart court, a client of both Charles II and James II, and was a witness to many of the political manoeuvrings of the era. In the final years of the Stuart monarchy he returned to Rome as part of an embassy to Pope Innocent XI. Wright is currently rated as one of the leading indigenous British painters of his generation and largely for the distinctive realism in his portraiture. Perhaps due to the unusually cosmopolitan nature of his experience, he was favoured by patrons at the highest level of society in an age in which foreign artists were usually preferred. Wright's paintings of royalty and aristocracy are included amongst the collections of many leading galleries today.
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