Wright's work is fairly recent.

Much of the scholarly appreciation of Wright's work is fairly recent. In 1982, an exhibition of his work: ‘John Michael Wright – The King’s Painter’ – in the Scottish National Portrait Gallery – led to a renewed interest in his contributions, and the catalogue (edited by Sara Stevenson and Duncan Thomson)[27] re-wrote and uncovered much of the known biographical details. New works continue to be discovered and previously known ones re-attributed to him.[28] Wright is now viewed as amongst the most successful of seventeenth-century Britain's indigenous artists, and is rated alongside contemporaries such as Robert Walker and William Dobson.[28] One modern exhibition catalogue described him as "the finest seventeenth century British-born painter".[27] Certainly, he was one of the few who painted the elite aristocracy of his day, and was responsible for some of the most magnificent royal portraiture surviving. This achievement is particularly significant in an age where even British patrons had tended to favour foreign artists like Holbein and Van Dyck, and would continue to favour immigrants such as Lely and Kneller. Indeed, part of the reason for Wright’s success is recognised as being his unusually cosmopolitan training: no prior British artist had so much exposure to European influence. During his Italian sojourn, and his participation in the Accademia di San Luca, not only had Wright collected works attributed to continental giants like Michelangelo, Raphael and Titian, he had also been influenced by, and even copied, much of their tone and style.[28]
xamoudochori
arm tattoos for guys