Prince Harry and Meghan Markle have been immortalised in new royal-focussed artworks – something that has infuriated many royal fans.
Royal fans have issued the same complaint as Prince Harry and Meghan Markle are given new “royal titles”.
Dan Llywelyn Hall, who is the artist who previously painted Queen Elizabeth II, has immortalised members of the Family – including the Duke and Duchess of Sussex. The artworks also appear to show the Sussexes’ historic alter egos which reflect their status as royal outcasts.
Meghan’s portrait is called the Returning White Queen and sees her as Dame Elizabeth Grey, who is the politically influential wife of King Edward IV.
Harry, on the other hand, is depicted as Charles Edward Stuart – aka Bonnie Prince Charlie, the Young Pretender.
Royal fans have appeared to all have the same complaint, with one even issuing that it is “worse than [the] Charles portrait”.
This is in reference to a painting released earlier this year that has been deemed the King’s “red” painting. Another fan said that Meghan and Harry’s paintings look like they’d been painted by a child.
Others said that they’d burst out laughing after seeing them. One fan commented: “Those pics have made my day, on the floor laughing with the tears rolling down my back.”
Speaking of his paintings, Llywelyn Hall said: “In Harry’s case, I have entered the story before he met Meghan the young party-goer with his future very much in the balance, a bit like the Bonnie Prince I have likened him to.
“I thought putting Meghan in the role of the White Queen, who was a Queen Consort and possibly the most influential ‘outsider’ in royal history, might have a fine irony to it and not necessarily beyond the realms of reality.”
The new paintings are set to go on display as part of an exhibition called The Reign.
Further speaking of his paintings, Mr Llywelyn Hall added: “The Royal Family is possibly the most enthralling longest-running drama in history, the inspiration of theatre, books and every art form.
“It seemed that these figures caught on the knife edge of public opinion were ideal for drawing comparisons from distant monarchs – like the exiled princes and princesses of the past, that lurk in the background but are still irrevocably tied to the job.
