I warm to Jonathan Yeo’s smoldering rendition of Charles the Third for the fastuous havoc it wreaks on canvas, not to mention expenditure of fiery pigment. It will inflame disdain in all the right quarters, though reportedly not in his highness’s breast.
For dead-eye daring of treatment there’s the barechested blueblood with the princely schnoz and bluebottle on his shoulder. Asked if he thought the painting resembled him, Philip said, “I bloody well hope not.” I like to imagine his comment was proffered through a grin. It could have happened!
Mining magnate Gina Rinehart reached watercolorist Vincent Namatjira’s eyes in guise displeasing to the billionairess. Australia’s richest woman has demanded that her portrait be removed from the National Gallery of Australia. (It reaches my eyes as an avatar of Rosie O’Donnell.)
Portraiture of the grand which doesn’t court obloquy is a missed occasion. Namatjira’s paintings are said to be “about changing people’s perspectives by using satirical humour as a commentary on power.” When will the wealthy and entitled catch a decent break!
Sources
Emma Bubola, “Too Red, Too Vampiric, Too Sexy: A Brief History of Polarizing Royal Portraits,” New York Times, 4-15-24.
Australian Associated Press, “Gina Rinehart Demands National Gallery of Australia Remove Her Portrait,” theguardian.com, 5-15-24.
(c) 2024 JMN — EthicalDative. All rights reserved
EthicalDative 
Brings to mind Churchill’s reaction to his portarit by Graham Sutherland. Lady Churchill allegedly destroyed it within a year of its arrival at Chartwell, by breaking it into pieces and having them incinerated to prevent it from causing further distress to her husband.
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A very apt analogy. I’m glad you’ve brought it up. I first knew of the story from its depiction in The Crown. This sort of behavior reminds me of a recent headline of Paul Krugman’s column: “Beware the Pettiness of the Powerful.” Thanks for your comment.
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I’ve just come back from a week away to learn of the Gina Rheinhart portrait fuss – she has been exerting pressure on the National Gallery of Australia to remove the painting as it will cause damage to her company Hancock Mining. The Gallery is unmoved! There has been some talk of the Streisland effect here too – the artist is delighted!
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Lovely! I hope the Gallery stands its ground.
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