In a dramatic unveiling that has left the public and critics buzzing, King Charles III revealed his first official portrait since ascending to the throne, and reactions have been anything but tepid. As debates rage on social media and in art circles, it is clear that King Charles’ portrait is destined to be one of the most talked-about royal artworks in recent history.
The unveiling
Recently, King Charles III personally unveiled a new portrait of himself at Buckingham Palace, the first such portrait since his coronation. The Royal Family’s Instagram account shared an exclusive video of the unveiling, featuring the king himself presenting the artwork.
This significant new work will ultimately be displayed in Drapers’ Hall in London, adding to its historical art collection and offering the public a glimpse of the monarch’s regal presence.
There was an ongoing debate in the comments.
The unveiling sparked a heated debate in the comments section on the Royal Family’s Instagram post and other social media sites. Opinions were sharply divided, with some users harshly criticizing the artwork. Comments ranged from “That is hideous” and “Without sounding rude, this is the worst royal portrait I’ve ever seen” to “100% thought this was satire.”
One critic remarked, “The face is good, the rest is appalling,” while another noted, “I would have loved this if it was any other color than red. He really captured the essence of him in the face, but the harshness of the red doesn’t match the softness of his expression.”
Despite the criticism, there were also voices of appreciation, such as “A lovely portrait of King Charles! I love the way the muted background draws attention to his face!” The mixed reactions highlight the polarizing nature of the portrait and the strong emotions it has evoked among the public.
The artist
Jonathan Yeo, a prominent figure in the world of figurative painting, has earned widespread acclaim for his unique blend of traditional and experimental portraiture. Yeo’s distinctive approach involves a deep engagement with his subjects, allowing him to capture their essence beyond mere physical appearance.
His recent portrait of King Charles III epitomizes this philosophy. Yeo explained, “As a portrait artist, you get this unique opportunity to spend time with and get to know a subject, so I wanted to minimize the visual distractions and allow people to connect with the human being underneath.”
The meaning of the portrait.
A particularly striking element of Yeo’s portrait is the inclusion of a butterfly. This detail serves multiple purposes, both symbolic and compositional. Yeo elaborated, “Primarily a symbol of the beauty and precariousness of nature, it highlights the environmental causes the King has championed most of his life and certainly long before they became a mainstream conversation.”
The butterfly also provides a visual contrast to the uniform, softening the portrayal and adding layers of meaning. “In the context of art history, a butterfly often symbolizes metamorphosis and rebirth, paralleling the King’s transition from Prince to monarch during the period the portrait was created,” Yeo noted, further emphasizing the transformative phase in King Charles’s life.
Yeo expressed his gratitude and honor for being commissioned to create such a significant portrait. “It was a privilege and pleasure to have been commissioned by The Drapers’ Company to paint this portrait of His Majesty The King, the first to be unveiled since his Coronation.”
Yeo’s approach to portraiture aims to encapsulate the life experiences and humanity etched into his subjects’ faces. “I do my best to capture the life experiences and humanity etched into any individual sitter’s face, and I hope that is what I have achieved in this portrait,” he explained.
The challenge of portraying a figure as complex and significant as King Charles III was substantial, but one that Yeo found immensely rewarding. “To try and capture that for His Majesty The King, who occupies such a unique role, was both a tremendous professional challenge, and one which I thoroughly enjoyed and am immensely grateful for,” he concluded. The portrait, destined for Drapers’ Hall in London, stands as a testament to both the artist’s skill and the monarch’s enduring legacy.
Discover the lesser-known facets of King Charles III’s life in our compelling article, “8 Things About King Charles III That Will Allow Us to Know Him More Closely.” Dive beyond the regal exterior to uncover intimate details about his passions, personal experiences, and unique quirks.
Preview photo credit Kin Cheung / Associated Press / East News, theroyalfamily / Instagram, jonathanyeo / Instagram
Mother-in-Law Didn’t Expect That Breaking Up Her Son’s Family Would Boomerang Back on Her
Ludmila sat at the kitchen table, absently tapping her spoon against the edge of a cooling cup of tea.
Through the window, she watched Marina carry the last of her boxes to the car. Finally, Ludmila thought with grim satisfaction, this outsider is gone from my son’s life.
She snorted quietly. Everything had gone according to her plan. The marriage had fallen apart, just as she intended — all thanks to her careful interference.
“She fooled you completely,” she had told her son Alexey over and over. “Lazy, selfish — couldn’t even keep the house in order. You deserve better.”
But Alexey sat silent, his fists clenched in frustration. He knew the real reason his marriage had failed — his mother’s constant meddling, her sharp remarks, her endless suspicion. Marina wasn’t perfect, but she didn’t deserve what had happened.
Ludmila had seen her as a threat from the beginning. First came the little comments: “Are you sure she’s faithful to you?” Then the lies: “I saw her with another man at a café.” And finally, the cruelest blow — a planted letter, supposedly from Marina’s secret lover.
That was the breaking point. Alexey lost his temper, accusing Marina of betrayal. Tearfully, Marina had only said, “If you trust her over me, then we have nothing left to say.” The divorce followed soon after.
Ludmila was delighted. She imagined Alexey returning to her care, as he had before marriage — eating her meals, listening to her advice, dependent on her again.
But things didn’t go as planned.
Alexey wasn’t happy. He grew distant, withdrawn. One evening, he quietly asked her, “Are you happy now, Mom? Marina’s gone. I’m alone. And I barely see my daughter. Is this really what you wanted?”
Ludmila couldn’t answer.
Soon, Alexey stopped coming to see her altogether. He rarely answered her calls. Meanwhile, Marina, far from falling apart, was thriving. She found a new job, bought a small apartment, and seemed freer, stronger.
That’s when Ludmila realized — she was losing everything. Her son was slipping away. Her granddaughter Liza avoided her. And Marina, whom she had once called weak, was building a new life.
Months passed. The silence in Ludmila’s home grew unbearable.
Desperate, Alexey tried reaching out to Marina — calls, messages, apologies. But Marina’s reply was always the same: “It’s over. Move on.”
When he visited her one day, Liza opened the door — and closed it in his face without a word.
That night, Alexey ignored his mother’s call for the first time. Ludmila called again and again, but there was only the empty ring of rejection.
She decided to visit him. Alexey answered the door, unshaven, exhausted, his eyes empty.
“Look at yourself!” she burst out. “All because of that Marina!”
But Alexey’s voice was steady, stronger than she’d ever heard: “No, Mom. Not because of Marina — because of you. You destroyed everything. I lost my wife. I lost my daughter. And now I’m losing myself. I don’t want to see you anymore.”
It was the first time in her life that Ludmila felt powerless.
Days passed. No calls. No visits. The house was silent.
One afternoon, wandering through the neighborhood, she passed the old playground where she used to take Liza. She saw a little girl on the swings — her granddaughter’s familiar silhouette — and her heart clenched.
Memories came flooding back — sticky hands, carefree laughter, summer afternoons.
Ludmila had thought she was saving her son, protecting her family.
But in the end, she had lost them both.
Now, all that remained was silence.
And it was far too late to fix it.
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