Stuart Pearson Wright Painter England 1975

Stuart Pearson Wright is an artist living and working in Suffolk, England.
Born in 1975 in Northampton, Stuart drew with enthusiasm from an early age and after considering becoming an actor, finally opted for art school. He studied at the Slade School of Fine Art in London.
During his time at the Slade, Stuart won a travel award from the National Portrait Gallery as part of its 1998 BP Portrait Awards. He drove around Britain in a van, producing sketches and paintings as he went. The resulting exhibition at the National Portrait Gallery was called From Eastbourne to Edinburgh: A Painter's Odyssey. Godfrey Barker in the Evening Standard labelled Stuart "A Hogarth for our Times" and Brian Sewell was to describe the paintings as "images of such eccentricity and even madness that they fit perfectly the English tradition of the odd man out: the Blake, Spencer, Cecil Collins line, and the largest of them should at once have been bought by the Tate".
In 2000 a chance encounter with the actor John Hurt in Old Compton Street led to a small portrait on oak, which was subsequently bought by the National Portrait Gallery along with a portrait of the Ballet dancer Adam Cooper.
Earlier that year Stuart's career had taken an unexpected turn when he won the first prize in the BP Portrait Awards for his painting Gallus Gallus with Still Life and Presidents.
Stuart made the headlines in 2004 with the release of a portrait of the Duke of Edinburgh. The painting featured a bare-chested Prince with a bluebottle on one shoulder. The portrait, which had been commissioned by the Royal Society of Arts, was refused by them. Later that year Stuart curated an exhibition at the Jerwood Space in London called Being Present featuring the work of eight painters.
Another commission which made the headlines was a portrait of the children's author J.K.Rowling. Commissioned by the National Portrait Gallery. This portrait took Stuart nearly a year to complete and saw his work moving in a new direction. The portrait was conceived in the manner of a regency toy theatre, with the figure painted onto a flat cut-out, mounted in a three-dimensional space.
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