John Michael Wright(London, 1617 – London, 1694) Portrait of a gentleman in ceremonial dress Oil on canvas (127 x 94 cm - In gilded frame 140 x 106 cm) This fascinating portrait, of a celebratory nature, shows a gentleman of high social standing proudly displaying his sumptuous ceremonial dress. He is a young man, with a voluminous wig falling on his shoulders, with deep eyes and a calm and contemplative expression. Proof of the author's great skill is the creation of his clothing: a dark coat, probably in velvet or damask, richly decorated with embroidery and shiny buttons on the front and sleeves, with white lace cuffs. All finished with an elegant white scarf knotted at the neck and fastened in a loop of the jacket. It is difficult to precisely identify the identity of the person portrayed, but it could be a member of the English upper middle class, a textile merchant for example, or a nobleman or a knight considering the accessories he holds in his hand, on one side a walking stick, on the other a sword with a large feathered hat. The work can be placed within the pictorial production of the portrait painter John Michael Wright (London, 1617 – London, 1694), a point of reference for 17th century English high society, appreciated for his style characterized by a sober but elegant realism. He traveled extensively in Europe and for this reason he was considered an exceptionally cosmopolitan painter, whose success derived precisely from the propensity to combine several influences, from traditional English painting to French painting, and very preponderantly to Italian painting. We know for certain of his ten-year stay in Rome, where he immediately built a considerable reputation to the point of allowing him, in 1648, to become part of the Academy of San Luca. Later, Wright went to Brussels, where he worked for Leopold Wilhelm, Archduke of Austria and Governor of the Spanish Netherlands. In 1656 he permanently returned to London, working for the English court, although his great fortune came from commissions external to the court (already monopolized by his main rival Peter Lely), and in particular he conquered numerous patrons among the nobility and the high London middle class. As we can see from the painting under examination, his style, although less polished than that of Lely, had the great advantage of being more penetrating and individual in the characterization, with his models tending to appear reflective, rather than simply fascinating. ADDITIONAL INFORMATION: The painting is sold complete with a pleasant frame and is accompanied by a certificate of authenticity and a descriptive iconographic sheet. We take care of and organize the transport of purchased works, both for Italy and abroad, through professional and insured carriers. Contact us for any information, we will be happy to answer you. Follow us also on: https://www.instagram.com/galleriacastelbarco/?hl=it https://www.facebook.com/galleriacastelbarco/