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The painting was drawn and issued as a print by Wenceslaus Hollar in 1639, with a dedication to King Charles I. It was documented in 1649 in an inventory of the art collection of King Charles I who had been given it by Sir James Palmer , [ 27 ] a Gentleman Usher of the Privy Chamber .
The painting depicts the young Jesus assisting Joseph in his workshop. Joseph is making a door, which is laid upon his carpentry work-table. Jesus has cut his hand on an exposed nail, symbolizing the stigmata and foreshadowing Jesus's crucifixion. Some of the blood has fallen onto his foot.
The painting in its current frame, hanging in the National Gallery. The Latin form of Pilate's words, "Behold the man", has given the title Ecce Homo to this picture. It is the moment when Jesus comes forth from the rude mockery of the soldiers, clad in a royal robe, and wearing the crown of thorns.
Yeo had four sittings with the King, beginning when Charles was Prince of Wales in June 2021 at Highgrove, and later at Clarence House. The last sitting took place in November 2023 at Clarence House.
Measuring about 8 feet 6 inches (2.59 m) by 6 feet 6 inches (1.98 m), the work is in a vivid red and shows Charles in the uniform of the Welsh Guards. [3]Yeo explained his abundant deployment of the colour red in stating ..."The colour was an early experiment and then I sketched it out and worked on the face, and the face and background worked so well," and then went on to say ...."I just then ...
After a dramatic new portrait of King Charles III caused a stir around the world earlier this week, many art experts are weighing in with their opinions about the painting.. The bold portrait ...
Yeo told the BBC that Charles himself approved of the contemporary portrait. He noted that when the king first saw a "half-done" version of the painting he was "initially mildly surprised by the ...
The famous triple portrait of Charles I by Van Dyck. Bernini, seeing this picture, called it "the portrait of a doomed man".. Written in a simple, moving and straightforward style in the form of a diary, the book combines irenic prayers urging the forgiveness of Charles's executioners with a justification of royalism and the King's political and military programme that led to the Civil War.