The early 1600’s in Britain are best known for the political upheaval surrounding the English Civil War rather than an illustrious arts scene, however the Royal Academy of Arts’ current ‘Charles I: King and Collector’ exhibition certainly questions that. Twelve vast gallery spaces across Burlington House are dedicated to showcasing the kings’ collection, and the walls of each gallery are painted a vivid shade of regal blue or red and act as the perfect backdrop for works by Anthony Van Dyck, Peter Paul Rubens, Titian, Pieter Bruegel, Andrea Mantegna and Hans Holbein amongst others. These works have been sourced from the Royal Collection, the Louvre in Paris, the Prado in Madrid, the Frick Collection in New York and various private stores, and reunited for the first time in over four centuries, having been sold off following Charles I execution in 1649. The show flows easily, manages to feel relaxed despite its grandeur, and the works bounce off each other; evident in the opening gallery where a portrait by Van Dyck of Charles I from three different angles is positioned behind a marble sculpture of the kings torso, marrying the two together. The sheer scale of several paintings, four enormous tapestries from the Mortlake workshop and the nine canvases depicting the ‘Triumph of Caesar’ by Mantegna shown side by side in one space is truly staggering. Status affirming images are common, but this exhibition does more than simply portray Charles I as king, and there are numerous family portraits and intimate scenes between himself and his wife Henrietta Maria on display. The final gallery focusses on Van Dyck and Rubens, two artists who owe their careers to Charles I who commissioned several works, including the ceilings of Banqueting House by Rubens which are likely to have been the final images the king saw before being beheaded outside it.
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