, a documentary filmed over an entire year that set out to lift the curtain on the daily lives of the Queen, Prince Philip and their four children. Dreamed up by the palace press officer and micro-managed by a committee headed by the Duke of Edinburgh,set out to deal a body-blow against the perceived creeping irrelevance of the Firm in a Britain that now revolved around swinging London. The Windsors worked hard. They were useful.
makes clear, that push and pull in the business of royal image-making – between asserting authority and showing warmth, between adhering to tradition and changing with the times, between monarch as national symbol and monarch as one of us – is central to the institution itself. Kings and queens, even autocratic ones, reign ultimately by common consent. Being seen is a royal duty; how people see the royal personage is crucial.
Of course, some monarchs were fortunate to find themselves in the company of genius. Charles I's doomed head was magnificently immortalised by Dutch painter Anthony van Dyck, who had trained under Rubens and had a similarly grand but free-flowing style, along with an "apparently effortless" ability to capture a likeness imbued with "dignity, sober intensity and restrained elegance", to quote former curator Tarnya Cooper's catalogue essay.
The reality captured in these royal keepsakes was very much a created one. Early pictures show Victoria in sentimental domestic scenes, concocted to reconcile her queenliness with motherhood, something she found far more difficult in real life. Later, we see her alone or with her extensive network of royal relatives from across Europe, most of whom sat on thrones they would lose after or during World War I.
Source: Entertainment Trends (entertainmenttrends.net)
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