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An “unputdownable” biography of the future king of England with “intriguing new details” about Kate and Diana by a #1 New York Times–bestselling author (Daily Beast). His face is recognized the world over, his story is well known. But what is Prince William really like? As Diana’s eldest son, he was her confidant. While the tabloids eagerly lapped up the lurid details of his parents’ divorce, William lived painfully through it, suffering the embarrassment, the humiliation, and divided loyalties. He watched his father denounced on prime time television; he met the lovers. And when he was just fifteen, his beautiful, loving mother was suddenly, shocking snatched from his life forever. The nation lost its princess and its grief threatened the very future of the monarchy. What was almost forgotten in the clamor was that two small boys had lost their mother. His childhood was a recipe for disaster, yet as he approaches his thirtieth birthday, William is as well-balanced and sane a man as you could ever hope to meet. He has an utter determination to do the right thing and to serve his country as his grandmother has so successfully done for the last sixty years. Who stopped him from going off the rails, turning his back on his duty and wanting nothing to do with the press—the people he blamed for his mother’s death? Where did the qualities that have so entranced the world, and his new bride, Catherine, come from? In the last thirty years, Penny Junor has written extensively about his parents and the extended family into which he was born. With the trust built up over that time, she has been able to get closer to the answers than ever before.
This text provides an exploration and reconsideration of Restoration portraiture, considering some of the most beautiful paintings of the period, portraits of women of prominence and influence within the court of Charles II, from royal brides and daughters to mistresses and actresses.
Anglophiles and students of portraiture will find that The Royal Portrait fills a surprising void in the literature, as Scott (Royal Collection) presents for the first time a survey of British portraits housed in the various venues of the Royal Collection. The broad scope ranges from Richard II (the first British king portrayed) to Queen Elizabeth II; the latter monarch, along with Queen Victoria, is the subject of an independent chapter, while other chapters focus on images of royals from a particular dynastic house, such as the Stuart and the Hanoverian. Through an interesting selection of diverse media and formats employed in different periods, Scott explores the central question of "what constitutes a royal portrait?" The answers are multifaceted and contingent on such factors as patronage, function, royal control, and artistic intention; nevertheless symbolic visual conventions can still be traced in the representations of British monarchs over the centuries. This is a clearly written, well-illustrated survey; for more in-depth analyses of particular works one will need to turn to specialized sources, e.g., D. Howarth's Images of Rule (1997). Summing Up: Highly recommended. Lower-division undergraduates through researchers/faculty; general readers. General Readers; Lower-division Undergraduates; Upper-division Undergraduates; Graduate Students; Researchers/Faculty. Reviewed by J. K. Dabbs.
In an era before photography, three painters--Charles Bird King, George Catlin, and Karl Bodmer--traveled far and wide to record the culture of Native Americans. For the first time in one volume, "Native Americans: A Portrait" presents a major selection of original paintings, drawings, and lithographs by these three artists. More than 1,000 full-color reproductions offer eyewitness accounts of battles, hunts, ceremonies, and daily life.
The cousin of Elvis chronicles the King's poor beginnings in Mississippi; his relationship with his abusive, alcoholic mother; his fame; his service in the army; courtship with Priscilla; days in Vegas; and his tragic death.
This is a photographic portrait of Queen Elizabeth II, from her first official photograph as a baby in 1926 to her greeting President Obama at Buckingham Palace in 2009. Each chapter begins with a text by bestselling historian and biographer Philip Ziegler, covering the key royal and historical events of the period.
This is a portrait of Diego Velázquez, from his arrival at the court of King Philip IV of Spain in May 1622, to his death 38 years and several hundred paintings later. It is a portrait of a relationship that is not quite a friendship, between a king and his subject and between an artist and his subject. It is a portrait of a ruler, always on duty, and increasingly burdened by a life of public expectation and repeated private grief. And it is a portrait of a court collapsing under the weight of its own excess.