Royal Subject: Portraits of Queen Charlotte

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King GeorgeIII and Queen Charlotte were music connoisseurs with German tastes, who gave special honour to German artists and composers. They were passionate admirers of the music of George Frideric Handel. [26] Charlotte did have some influence on political affairs through the King. Her influence was discreet and indirect, as demonstrated in the correspondence with her brother Charles. She used her closeness with GeorgeIII to keep herself informed and to make recommendations for offices. [20] Apparently her recommendations were not direct, as she on one occasion, in 1779, asked her brother Charles to burn her letter, because the King suspected that a person she had recently recommended for a post was the client of a woman who sold offices. [20] Charlotte particularly interested herself in German issues. She took an interest in the War of the Bavarian Succession (1778–1779), and it is possible that it was due to her efforts that the King supported British intervention in the continuing conflict between JosephII and Charles Theodore of Bavaria in 1785. [20] Husband's first period of illness [ edit ] Portrait by Nathaniel Dance-Holland, c. 1768

Miniature by J. H. Hurter, bust-length. Royal Collection (R. J. B. Walker, The eighteenth and early nineteenth century Miniatures in the Collection of Her Majesty The Queen, 1992, no.237). Jefferies quotes former Congressman Mel Watt, who eloquently describes the “compromise narrative” that this myth allows for, such that Charlotte can transcend her use as a symbol of white supremacy and represent the entire community: Painting by Joshua Reynolds, whole length seated in robes of state. Royal Academy (D. Mannings, Sir Joshua Reynolds, I, 2000, no.718). For the distribution of the many copies, see George III.A lead statue probably of Queen Charlotte, dating to c. 1775, stands on Queen Square in Bloomsbury, London, [65] [66] and there are two statues of her in Charlotte, North Carolina: at Charlotte Douglas International Airport [67] and at the International Trade Center. [68]

Painting by Johann Zoffany, whole length seated, with her two brothers and Prince William and Princess Charlotte. Royal Collection (Sir Oliver Millar, The Later Georgian Pictures in the Collection of Her Majesty The Queen, I, 1969, no.1207, pl.30). Exhibited RA 1773 (320). The figure of the Queen alone recurs in a painting attributed to Zoffany in the Tryon Palace, New Bern, North Carolina. While most of this work focuses on the evolution and variations of the myth, we will start with a brief overview of her. Painting by Nathaniel Dance, whole length standing with robes of state. Uppark (illus. D. Goodreau, Nathaniel Dance, exhibition catalogue, Kenwood, 1977, fig.8). Exhibited RA 1769 (31) with a companion piece of the King. Versions belong to the Prince of Hanover, and a three-quarter length version of the Queen alone was on the Munich art market 1931.Painting by Francis Hayman, whole length in coronation robes, painted for the annexe to the Rotunda at Vauxhall Gardens. Listed in the proposed Vauxhall sale, 15-16 June 1840 (B. Allen, Francis Hayman, 1987, p 171). This is incorrect, as the Crosland article does not discuss Charlotte, but another woman, Jane Parks. The portrait of Charlotte by Thomason is adjacent to Crosland’s article, but is not related, and there is no indication that Crosland wrote the text describing the portrait. Gregory also continues the unsourced claim about a “debate over her race” in 1934, of which the portrait’s description does not reference overtly or implicitly. What about the idea that she was an immigrant - a German teenager who had to make a new life in England in the late 18th century?

The portrait of Queen Charlotte Sophia, consort of George III, by Ramsay clearly shows a Negro strain. Horace Walpole, who saw her, wrote of her, “nostrils spreading too wide; mouth has the same fault.” Medals marking the birth of the Prince of Wales, by Thomas Pingo, with facing bust of the King (C. Eimer, The Pingo Family & Medal Making in 18th-century Britain, 1998, no.26) and J. L. Natter (L. Brown, A Catalogue of British Historical Medals 1760-1960: The Accession of George III to the Death of William IV, 1980, nos.25, 76, 77). See also George III.Medal attributed to P. Kempson, with conjoined busts of the King and Queen (L. Brown, A Catalogue of British Historical Medals 1760-1960: The Accession of George III to the Death of William IV, 1980, nos.643-45). From 1804 onward, when the King displayed declining mental health, Queen Charlotte slept in a separate bedroom, had her meals separate from him, and avoided seeing him alone. [6] Interests and patronage [ edit ] "Patroness of Botany, and of the Fine Arts" Queen Charlotte in Robes of State, by Joshua Reynolds, 1779

Drawing by John Downman, half-length profile. Formerly in the E. M. Hodgkins collection (illus. G. C. Williamson, John Downman, 1907, f.p.VIII). Replica dated 1784 sold Sotheby’s, 26 November 1998, lot 11; another, undated, sold Sotheby’s, 11 July 1985, lot 89. Lawrence painted Queen Charlotte in Windsor Castle, possibly at the suggestion of one of her ladies-in-waiting, Lady Cremorne, who Lawrence had portrayed the previous year (Tate, London). The Queen was troubled by her husband’s protracted mental illness and by political events unfolding in France and was in no mood to sit for the young painter. The sitting on 28 September was probably the only one she gave him. Color in Queen Charlotte (1762) by Allan Ramsay; Allan Ramsay, Public domain, via Wikimedia CommonsAllan Ramsay became one of the “Principal Painters in Ordinary” for King George III, a position he reportedly started from 1761 to his death in 1784.