UPDATE 5/25/24
Well, King Charles has a new portrait and it is pretty scary! Of course everyone is denying any foul intent or symbolism. However, bear in mind that there are evil forces at work. Whether any of the human parties involved intentionally played a role in the creation of this piece is irrelevant. We must look beyond the obvious and reveal what is hidden. You cannot just deny the symbolism or the responses the imagery invokes.
Use your sense of discernment and your cognitive thinking. Set your skepticism aside and consider all the points addressed in the following articles and videos. There are many more you can find online. Over a Hundred. I have selected what I consider to be a good sampling.
UPDATE 5/25/24
As you study the painting, you become acutely aware that the head of the King seems to be disconnected.
Many people consider King Charles as a candidate for the personification of the Anti-Christ. It is quite possible and so I had to wonder what could the imagery in this painting be symbolizing, especially the awareness that his head seems to be floating, not really connected to his body.
The image seems sinister and foreboding. It is quite unnerving and almost horrific. It certainly invokes fear in many who view it.
I looked into the meaning and symbolism of a floating head.
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HEAD: THE CELTIC HEAD CULT
Head-hunting as a proof of prowess and the veneration of the head as the seat of the soul and the source of spiritual potency are both far older than the dawn of the historical period. In Europe there is fairly clear evidence for them as far back as Mesolithic times. They were therefore part of the European heritage long before the Celts emerged as a distinct cultural entity. But here, as in so many other instances, what the Celts borrowed or inherited from others they soon made peculiarly their own. The veneration of the head became a central element of their ideology, a deep-set preoccupation which lasted from the birth of the Celtic peoples to their final conquest, one which left its imprint ubiquitously on their art and on their mythology.
The archaeological and artistic evidence for the head cult among the Celts is too extensive to catalog briefly. For example, at the Celto-Ligurian sanctuary of Entremont in southern Gaul (Provence), fifteen male skulls were found, several of them still bearing the marks of the spikes with which they had been fixed for display, and at Bredon Hill in Gloucestershire, England, a row of skulls uncovered near the entrance seem to have fallen from above the gate of the fort. At Entremont there are many examples of severed heads sculpted on blocks of stone, while Roquepertuse, also in Provence, has its famous decorated portico with niches in which human skulls were placed. There is also a wealth of heads sculpted in stone or carved in metal which, while not explicitly identified as severed heads, reflect clearly and sometimes very dramatically the importance accorded the head as a symbol of extraordinary power and divinity: for example, those from Heidelberg or from Mšecké-Žehrovice in Bohemia, or the pear-shaped heads on the Pfalzfeld Pillar, or the three-faced head from Corleck, County Cavan, Ireland.
Classical authors confirm the archaeological testimony. According to Posidonius, as reported by Diodorus Siculus (5.29.4–5) and Strabo (4.4.5), the Celts returned from battle with the heads of their defeated enemies hanging from the necks of their horses. The heads of their most distinguished opponents they embalmed in cedar oil and stored carefully in a chest to be displayed proudly to their visitors, and in some instances they used the skull of a distinguished enemy as a vessel for sacred libations. These and other similar references are supported by the insular Celtic literatures, where the return of the hero carrying the heads of his foes as trophies is commonplace. Cormac’s Glossary, which dates from around 900 ce, defines the term mesradh Machae, “the nut harvest of Macha (the war goddess),” as “the heads of men after they have been cut down.”
But the cult of the head went far beyond the pursuit of martial glory. The head was not only a prized heroic trophy but also a profoundly religious symbol, sometimes evidently representative of a deity and generally suggestive of supernatural wisdom and power. It was a source of prosperity, fertility, and healing as well as an apotropaic agent to ward off evil from the individual and from the community as a whole. Severed heads are often associated with sacred wells—themselves instruments of healing—in the archaeological record, in the early insular literature, and in modern oral tradition, and this association was carried over into the legends of the Christian saints. There are many instances in the literature of heads continuing to live—speaking, directing, entertaining—long after they have been separated from the body. Perhaps the most striking example is that of Bendigeidvran (Brân the Blessed), whose head presided over the otherworld and protected the island of Britain since its burial at the White Mount in London. Indeed so widespread and so persistent is the image of the head in its various aspects that Anne Ross has seen fit to describe it as “the most typical Celtic religious symbol.”
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Below are some of Jonathan Yeo’s other portraits. You can see a pattern. One must wonder if he was chosen for the red background. Some say the King seemed surprised. But, was he?
188K subscribers
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Kevin Spacey as President Underwood
The Artist: BRITISH ARTIST JONATHAN YEO
Jonathan Yeo (b. London, 18 December 1970) is one of the world’s leading figurative artists. He has painted and worked with iconic and celebrated figures including Sir David Attenborough, peace activist Malala Yousafzai, actors Dennis Hopper, Nicole Kidman and Idris Elba, artists Damien Hirst and Grayson Perry, supermodel and actor Cara Delevingne, Baroness Doreen Lawrence, former Prime Minister Tony Blair, and has produced official commissions of Prince Philip and The Queen. His work has been exhibited widely in museums and galleries around the world and has been the subject of several major mid-career retrospectives in the UK and internationally.
Entirely self-taught, Yeo rose to prominence as a figurative painter by the age of thirty following several major official commissions, such as that of the former British Prime Minister Tony Blair, at a time when painting generally, and portraiture in particular, had fallen out of fashion. His collage of George Bush in 2007, however, earned his reputation as someone known for both traditional and experimental portraiture. Along with his Collage Series, Yeo has explored more conceptual themes in his series of paintings looking at cosmetic surgery and increasingly his portraits are addressing wider concepts and themes within the paintings’ narrative.
His 2013 first mid-career retrospective at the National Portrait Gallery in London was acclaimed by the critics and public alike, and was accompanied by a major monograph and a BBC1 Culture Show special. The exhibition then toured in 2014 to the Lowry in Salford and the Laing Art Gallery in Newcastle-Upon-Tyne. In 2016 he collaborated with Smithsonian National Portrait Gallery in Washington DC, where he unveiled a portrait of Kevin Spacey in his role as President Underwood, from the Netflix series House of Cards. Later that year he had his largest retrospective to date at The Museum of National History at Frederiksborg, in Denmark. In early 2016 Yeo began experimenting with 3-D printing and scanning in order to make self-portraits and has also been working with various tech companies to help develop ground-breaking virtual reality drawing software. In December 2017 he unveiled his first ever large-scale sculptural work, made using an innovative combination of these new processes at London’s Royal Academy of Arts. The first ever institutional solo show of Yeo’s Surgery Series opened early 2018 at the Bowes Museum in County Durham.
Yeo has emerged as one of the foremost pioneers of figurative painting in Britain. His career as a painter has seen him confront a multitude of different narratives and themes. Content ranges from how we consume and discuss imagery, the modern day obsession of social media, actor’s in character, the pervasiveness of pornography, cosmetic surgery and societal portraiture. The appropriate personality to use as subject is decisive and Yeo uses them as a vehicle to explore the study of physiognomy, whilst simultaneously tackling often complex narratives and ongoing themes. Mette Skougaard, Director, Museum of National History, Denmark, said Yeo is “a pivotal force in the revitalisation of figurative art in general and in the art of portraiture in particular.
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My Secret Life: Jonathan Yeo, artist, 40
My Secret Life: Jonathan Yeo, artist, 40
The household I grew up in… I grew up in a little terraced house in Islington. We played in the street and knew all our neighbours.
When I was a child I wanted to… be a film director. Actually, I think I still do.
If I could change one thing about myself…I would speak more languages. It’s ridiculous that I can muster only a few phrases in most places I visit.
You wouldn’t know it but I’m very good at… remembering dates. I can pinpoint almost any occasion in my life to the day.
You may not know it but I’m no good at… remembering almost anything else. Facts, names, conversations just evaporate.
I wish I’d never worn… out my lucky underpants.
What I see when I look in the mirror… My dad, mostly. But that’s normal… right?
My favourite item of clothing… The ones I work in. I’m far more comfortable in clothes that are already messy as I don’t have to worry about splashing paint on them.
It’s not fashionable but I like… quiet nights in with my wife, Shebah. We love to cook, plus I’m a bit of a wine geek, so it feels like we consume better things than if we go out.
My house is… very pretty looking but badly laid out. Fabulous garden and masses of space for entertaining, but tiny bedrooms and no cupboards. Chosen with our hearts rather than our heads.
A book that changed me… was Vasari’s Lives of the Artists. I was studying something else but suddenly saw myself as one of them. Which was kind of ridiculous in retrospect given that I was a totally amateur and rubbish painter at that time.
My favourite work of art… changes all the time. But I remember actually wanting to steal the early self-portrait of Stanley Spencer in Tate Britain once.
My favourite building… would still be the Chrysler Building in New York City. I fell in love with its perfect brushed-metal art deco roof the first time I saw it as a schoolkid and I feel exactly the same. I even tried to design Shebah’s engagement ring loosely on that.
The last album I bought… was by Sixto Rodriguez. Sounds like Bob Dylan doing an impersonation of Gil Scott-Heron.
My secret crush is… Professor AC Grayling. Please don’t tell him.
My real-life villain… is advertising. Most of it plays on people’s insecurities and deludes them into thinking life’s problems can be fixed by buying things they don’t need.
The last time I cried… When I heard Dennis Hopper died. It was Dennis who suggested doing an exhibition on the West Coast, which ended up being the biggest thing I’ve ever done. Although I knew he was ill, I had somehow assumed he’d be around to see it, but I heard the news on the radio while I was sitting alone in the studio finishing one of the final pieces for the exhibition.
My life in six words… Incredibly fortunate with job, family, friends.
A life in brief
Jonathan Yeo was born in London in 1970; his father was the Conservative MP, Tim Yeo. After recovering from Hodgkin’s disease in his twenties, Yeo took up art. He has painted portraits of everyone from Tony Blair to Erin O’Connor to Prince Philip. In 2007, he famously made a collage of George Bush using pornographic magazines. Yeo recently donated an artwork to the Macmillan De’Longhi auction for Macmillan Cancer Support. He lives in London with his wife, Shebah Ronay, and their two daughters
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Artist reveals why his portrait of the King is so red
Jonathan Yeo says he enjoyed the internet memes his painting of monarch generated
The painting by Jonathan Yeo, which was unveiled by the monarch at Buckingham Palace on Tuesday, depicts the King wearing the uniform of the Welsh Guards against a red backdrop.
The unusual portrait has divided opinion amongst royal fans and social media users, with some saying the large swathes of red made them “uncomfortable” and that it looked like the monarch was “in hell”.
Yeo said he “got over” the mixed reactions early on and was amused by the internet memes the portrait generated.
“My [younger] daughter was much too keen to show me all the crazy stuff about the painting on TikTok,” he told The Sunday Times. “She’s 17 and … had the best day of her life with all of the conspiracies about the painting, saying I’m a satanist and Illuminati.”
He added: “No matter what you do with a picture, no matter how obvious you think the story you’re telling is, someone’s going to read something else into it.”
As for why he chose to use so much red in the portrait, the 53-year-old said he wanted it to tone and distract from the King’s brightly coloured uniform.
“I thought the red will really distract,” he told the paper, adding that his solution was to instead cover the whole painting in crimson.
“That may also have had psychological backing, because I had a heart attack [in March 2023] when I was painting this,” he says. “But certainly none of that I was conscious of – it was just: I like this colour.”
He revealed that he struggled painting the King’s medals and uniform as he had never done so before.
“I probably spent longer on the medals than the face because I knew what I wanted to do with the face when I started,” he said.
“The more I painted the medals in, the more that was the first thing you saw because they were so shiny. I didn’t want it to be about that, but they had to be there somewhere. I would put them in – and then it would be too much – and I would rub them away. It was push and pull.”
The new painting measures 8ft 6in by 6ft 6in and was commissioned in 2020 to celebrate the then-Prince of Wales’ 50 years as a member of The Drapers’ Company.
Yeo had four sittings with the King, beginning when Charles was Prince of Wales in June 2021 (6 221) at Highgrove, and later at Clarence House. The last sitting took place in November 2023 (11 22 3) at Clarence House.
The portrait will go on public display for a month at the Philip Mould Gallery in London, from 16 May until 14 June. (165 – 146) Entry is free.
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What am I missing here? Art devotees, what’s happening?
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King Charles portrait analyzed by AI
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YOU WILL NOT BELIEVE WHAT IS HIDING HERE!
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Remember the horse with all the blood on it running loose in London?Whatever became of all of that?Is it somehow related to this painting?
I see the demons in the portrait. More than one.These people are evil and sick.Source: Minuets Of Horror on YouTube
1 week ago
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Bloodied Horse Seriously Injured but Alive, Army Says
The blood-stained horse charged through London scattering pedestrians Wednesday.
Jordan Pettitt/PA Images/Getty Images
Vida, technically known as a grey horse, is in an equine hospital after the dramatic incident in Central London Wednesday. Up to five horses either bolted or threw their riders after builders working on a construction site dropped a heavy load of concrete and rubble from height on an otherwise quiet street the horses were being ridden on.
The horses are all part of the Household Cavalry, a regiment closely associated with the king which provides ceremonial escorts at state occasions such as the monarch’s birthday parade.
Vida and another horse, Quaker, were operated on after they were recaptured by the army after sowing chaos and panic as they charged through the city for over an hour.
Defence minister James Cartlidge told Sky News: “There were five horses, they have all been recovered. Three of them are fine, two are unfortunately in a relatively very serious condition and, obviously, we will be monitoring their situation.”
Asked by host Kay Burley if they were still alive, he replied, “As I understand it they are in a serious condition but still alive.”
A British army spokesperson said yesterday that three soldiers were injured after being thrown from their horses. A fourth soldier who fell was unharmed and did not need treatment.
Meanwhile the spectacle of the injured and panicked animals clattering through London streets has prompted animal rights activists to criticize the army’s practice of keeping horses.
Animal Rising launched a petition on the matter saying: “These magnificent animals were so frightened that they ran through the streets of London, injuring both people and themselves. It is clear that these horses do not belong in the army, and they deserve a better life.
“We need your help to get these horses to safety. Please sign and share this petition as widely as possible so that we can get them to a sanctuary where they can live out the rest of their lives in peace.”
However Jeanette Allen, head of charity the Horse Trust, told Good Morning Britain: “All the service horses that come here to retire come still really happy to work, with really strong bonds with their riders. 99.9 per cent of the time no incidents like this ever happen.”
An Army source told the Sun that Vida, was “lively” and had a history of being spooked. She is thought to have kicked a soldier in the head during the coronation.
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Want to know why the demons and butterfly? Think Epstein and his collection of world leader photos controlled with child sex trafficking blackmail and secret society secret oaths. We break it down here in detail with comparisons to the infamous Bill Clinton in Jewish Monica’s Blue Dress, and the other equally infamous portrait of George Bush and his paper plane breaking the two towers.
4 days, 2 hours ago
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