King and Queen unveil portraits marking coronation
Lifelike and atmospheric portraits of the King and Queen commissioned to mark their coronation have been unveiled by the couple.
Charles and Camilla gave the world the first glimpse of the separate full-length state portraits on display at the National Gallery, with artist Peter Kuhfeld saying he hoped his depiction of the monarch captured “the man and the King”.
Paul S Benney painted the Queen, who was joined by her daughter Laura Lopes, and he said about Camilla: “She said nothing but wonderful things about it, more importantly Laura liked it – you know when the kids like it you’re probably on the right track.”
The Queen could be heard telling the artist “I think it’s really lovely”.
The monarch and his wife were crowned two years ago on May 6 during a Westminster Abbey ceremony steeped in symbolism and history watched by millions.
Charles, 76, was the country’s longest serving heir to the throne and the day after Queen Elizabeth II died in September 2022, he pledged his whole life in service as the new sovereign saying: “That promise of lifelong service I renew to you all today.”
The artists were chosen by the King and Queen with Mr Kuhfeld having known Charles for more than 40 years, and their portraits will be hung in the gallery until June 5 before moving to their permanent home in Buckingham Palace’s Throne Room.
The paintings are both full-length portraits with the King standing in the throne room at St James’s Palace while the Queen is in the garden room of the couple’s London home, Clarence House.
The coronation state portraits follow convention and include some of the regal artefacts from the ceremony, including the Imperial State Crown, worn by Charles on his return to Buckingham Palace after his crowning.
Charles is painted wearing the robe of state, worn when he entered the Abbey and during the first part of the coronation service, and underneath is his naval uniform – number 1 ceremonial day dress – with medals and decorations.
“I think he was pleased. It’s a very odd thing for a sitter to look at themselves, I just hope that I’ve got an aspect of the man and King, I just think that’s very important,” said Mr Kuhfeld who took more than 18 months to complete the painting after five sittings with the King.
The artist was commissioned by the King to paint his sons when young boys and has also worked as Charles’ official overseas tour artist on a number of trips.
He added: “He’s a wonderfully interesting person in his own right, as a person, not King or Prince of Wales, just a very interesting person. And that was one of the things I was really keen in trying to bring out in the painting.”
Mr Kuhfeld said that during preparatory work for the painting, a period when his studio is closed to family and friends, “…my eldest granddaughter forgot, when coming to tell me supper was ready; she burst through the door and came to a standstill and exclaimed, ‘Oh! It’s the King!’”
Raven Coetzer, aged nine, was invited to the unveiling and after meeting the King said about her grandfather the artist: “I think it’s really good, he did put his heart and soul into it.”
Mr Benney set up a studio in Clarence House’s garden sitting room for almost a year and the Queen sat for him six times when she had moments free: “I was able to go in and out and every couple of weeks I was in there.”
The artist added: “Extremely pleasurable on my part, I think Her Majesty the Queen enjoyed them. I like to talk when I’m painting – I’ve managed to develop that skill over the years, I’m able to do two things at once – so we had lots of talks and chats and stories.
“Every time I’d leave, I’d be holding my tummy because I’d been laughing so much – the Queen’s very witty.”
He added: “My guiding principles in this commission were to both acknowledge the grand and historic nature of the coronation iconography with all the equipage of the monarchy and at the same time reveal the humanity and empathy of such an extraordinary person taking on an extraordinary role.”
Before the unveiling Charles and Camilla were given a tour of some of the highlights in the gallery, including a number of its extensive collection of Renaissance paintings.
The King and Queen also re-opened the newly refurbished Sainsbury Wing of the gallery which has seen its entrance area opened up to provide more light and space for visitors.
In 1984, when he was the Prince of Wales, Charles famously criticised a previous design proposal for the wing as a “monstrous carbuncle on the face of a much-loved and elegant friend”.
