King Charles III and Queen Camilla have officially unveiled their coronation portraits, marking a significant moment in the royal couple’s reign and adding to the long-standing tradition of royal portraiture. The paintings, released to commemorate the crowning ceremony held last year, were created to capture the solemnity and symbolism of their ascension. But not everyone is convinced by the final result.
The portrait of King Charles III, painted by renowned British artist Jonathan Yeo, has reignited debate over royal imagery. Known for his distinctive style and evocative use of color, Yeo portrayed the monarch dressed in ceremonial regalia, standing in a sea of red hues that many have interpreted in dramatically different ways.
While the red glow was intended to convey power, dignity, and the historic weight of monarchy, social media users were quick to criticize the piece. Some claimed the King looked as though he was “bathing in blood,” while others took it even further, suggesting the image resembled a “vision of hell,” saying the king appeared to be “burning in fire.”
Despite the online uproar, art critics have offered a more tempered perspective. The use of red, they say, is a deliberate homage to royal tradition and the color’s deep association with British ceremonial robes, authority, and the continuity of the monarchy. Yeo himself defended the work, explaining that the painting is “meant to capture both the man and the institution,” acknowledging the modern pressures and scrutiny that come with the crown.
Queen Camilla’s portrait, though less controversial, was painted in a more classical tone. Draped in her coronation robes with the Queen Consort’s crown, the portrait reflects poise, resilience, and her evolving role within the royal household. It has generally received a warmer reception online, with many praising its grace and subtle strength.
Buckingham Palace released the portraits ahead of the one-year anniversary of the coronation, intending them as a historical milestone. However, the public response, particularly toward the King’s fiery image, underscores how modern audiences continue to reinterpret royal symbols in the age of social media.
The portraits are now on display at the National Portrait Gallery in London, where they will become part of the institution’s royal collection — and, inevitably, part of the public discourse.
Written By Queen Diana Story
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