Fox Hunting

by George Wright


MEDIUM: Oil on Canvas

DIMENSIONS: 17.5 x 29 inches (44.5 x 73.7 cm)

SIGNATURE: Signed ‘G. Wright’ (lower right)


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    This work is by the eminent sporting painter George Wright. Much of his early work is rendered in this effective grisaille technique, leading one to believe they were made to illustrate papers and magazines, books, or posters perhaps. The technique uses monochrome oil paints to emulate the effect of sculpture, or in the case of Wright’s work, to be replicated effectively in print.

    Private Collection, United States

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    George Wright was one of the foremost equestrian artists of his time. He was born in Leeds, in 1860 to George E. and Elizabeth Wright. George was one of five children; his brother Gilbert also became a well-known artist, and they collaborated at times. Together they painted coaching and equestrian scenes to be used for printed calendars.


    In 1901, the artist moved to Rugby, which became his home until 1908, when he moved to Oxford. By 1925, he was under commission to make work for Ackermann’s Gallery, in the U.K., and Grand Central Galleries in New York. He held many solo exhibitions at both of these galleries, as well as others around the world, and enjoyed a successful artistic career. He also collaborates with J.W. Brooke on a portrait of “Lillie, daughter of J. Wallace, Countess” which was exhibited at the Royal Academy in London in 1899. George Wright exhibited at the Royal Academy with his own paintings from 1892. Wright’s later work is more Impressionistic in style, paying less attention to fine detail and focusing on the effects of light and shade.


    He was married and had two children and by 1929 the family was living in Richmond, Surrey where they stayed until his retirement in 1939.  He spent the next ten years in Seaford, Sussex where he died in 1942.


    George Wright was known for his proportionately accurate and well finished hunting, coaching and sporting scenes, as well as for individual horse portraits. His work is at once lively and serene.  He was inspired by predecessors, such as George Stubbs and Alfred Munnings; both eminent equestrian painters.

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