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king2

3 min read

The author, Miles Mathis, criticizes modern art, specifically focusing on the recent portrait of King Charles by Jonathan Yeo. Mathis argues that the portrait is a poor example of art, lamenting the shift from beautiful, representational art to “Modern uglification.” He suggests that artists like Yeo are merely “idea-men” who hire specialists and lack genuine skill, highlighting Yeo’s perceived lack of talent and his influential family connections. Mathis contrasts Yeo’s work with his own, showcasing his superior technique and understanding of color, light, and composition. He also touches upon other contemporary artists and institutions, such as Damien Hirst, Lucian Freud, John Singer Sargent, Grayson Perry, Hannah Uzor, and the National Portrait Gallery, London. The author also critiques the symbolic interpretation of the butterfly in Charles’ portrait, attributing it to Phoenician symbolism rather than environmentalism or royalty. He further discusses his own struggles to gain recognition in the art world due to a lack of connections and his refusal to conform to Modernist trends, citing his experiences in Taos. The text concludes with a critique of a new portrait of Kate Middleton by Hannah Uzor, reinforcing the author’s arguments about the decline of artistic skill and the prevalence of nepotism and superficial trends in the contemporary art market.

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