In a move that’s sure to stir the pot, Buckingham Palace has unveiled the first official painted portrait of King Charles III since his coronation, and it’s anything but traditional. This vibrant oil on canvas, a towering 8ft 6in by 6ft 6in masterpiece by Jonathan Yeo, ditches the classic royal stoicism for something far more audacious.
Yeo, a name that carries weight in the art world with his previous subjects like Tony Blair and Malala Yousafzai, has captured the King in the uniform of the Welsh Guards. But it’s the shocking use of red that immediately grabs you—Charles’s uniform fades into an intense crimson backdrop, making his face the undeniable focal point. This isn’t just any red; it’s the kind of red that screams urgency and passion, a nod to the turbulent history of British colonialism and the bloodshed associated with it. It’s a powerful, almost confrontational choice, hinting at a legacy that is as much about conflict as it is about heritage.
Queen Camilla’s remark, “Yes, you’ve got him,” adds a layer of personal validation to the portrait, while Yeo’s comment about the risk of being labeled treasonous for a bad royal portrait is laced with dark humor. The King’s initial surprise at the strong color palette suggests that even he wasn’t expecting such a bold representation.
One of the standout features of the painting is the butterfly perched delicately on the King’s shoulder. This isn’t just a whimsical touch; it’s loaded with symbolism. Historically, butterflies signify metamorphosis and rebirth, fitting for a monarch who has just ascended the throne. But there’s more—Charles has been a staunch advocate for environmental causes long before they became trendy. The butterfly is a subtle nod to his lifelong commitment to nature, offering a glimpse into the man behind the crown.
This portrait comes at a poignant time, as King Charles has recently been in the headlines for his health issues, specifically a cancer diagnosis. Yeo’s painting sessions wrapped up before this news broke, but he notes that the King didn’t show signs of physical exhaustion. Instead, Charles appears stately and composed, even as he shoulders the weight of his new role and personal battles.
Yeo, reflecting on his work, aimed to break with the stiff, formal traditions of royal portraiture. The military outfit and sword are there, but they’re juxtaposed with the modern vibrancy of the red background and the butterfly’s delicate presence. This mix of old and new is Yeo’s way of reconciling the King’s past with his present, capturing not just his image but his essence.
In the broader context of recent events surrounding the British royal family, this portrait stands out as a statement piece. It acknowledges the institution’s deep-rooted history while pushing forward with a contemporary, almost rebellious edge. It’s a visual narrative of a monarch who is both a figurehead and a human being, dealing with personal and public challenges.
The portrait is set to go on public display at the Philip Mould Gallery in London from May 16 to June 14, before moving to Drapers’ Hall in August. For those who seek to understand the complex layers of King Charles III’s reign and his personal journey, Yeo’s portrait is a must-see—an evocative blend of color, symbolism, and modern royal identity.
GLOBAL GRAPHICA 