Royal Portraits: A century of Photography – Review

“Royal Portraits: A Century of Photography” review.  This is a handsome, reflective exhibition staged at the King’s Gallery, Palace of Hollyroodhouse in Edinburgh. Drawing from the Royal Collection’s vast photographic holdings, it traces the evolution of monarchy and image-making from the early 20th century to the present. Visitors are invited into a world where sovereigns are seen both as symbols of continuity and as individuals navigating rapidly shifting public and private roles. The show succeeds not only as a survey of photographic history, but also as an exploration of how visual storytelling shapes perceptions of power.

 

What makes this exhibition distinctive is the dual lens through which it operates: one historical, one intimate. These are not simply glossy press portraits or stiff coronation photographs. Instead, the curators have selected over 150 images that capture both staged grandeur and moments of quiet, human vulnerability. The result is a portrait of monarchy that is neither hagiographic nor cynical. Rather, it is nuanced, textured, and often surprisingly candid.

 

 

Royal Portraits: A Century of Photography – Review

The narrative arc begins in the 1920s, with early gelatine silver prints of George V and Queen Mary that seem almost sculptural in their formality. Photographers like W. & D. Downey and Bassano favoured static poses, dramatic lighting, and symbolic props: ermine robes, sceptres, thrones – designed to affirm the stability of the realm. It was a time when photography was still echoing the aesthetic cues of painted portraiture, and royalty was presented as distant, idealised, and immutable.

 

But even within this traditional framework, subtle tensions emerge. An image of a young Edward VIII, before his abdication, shows a figure less content in ceremonial dress, his gaze drifting away from the camera. The retrospective use of this image is particularly poignant given what came later. Similarly, a charming family photo of George VI and the Queen Mother with their daughters, Elizabeth and Margaret, reveals early signs of a more informal royal narrative taking shape.

 

Technological changes in photography including faster shutter speeds, better lenses, and portable lighting enabled greater flexibility. The exhibition charts this shift through the work of photographers like Cecil Beaton and Dorothy Wilding. Both knew the value of theatricality, but deployed it with modern flair. Beaton’s 1939 portrait of Queen Elizabeth (later the Queen Mother) in full-length Norman Hartnell gown is as much about the mystique of monarchy as it is about fashion and art direction.

 

A Changing Image in a Changing World

Royal Portraits: A Century of Photography – Review. From the post-war period onwards, the royal image became more democratic, reflecting the monarch’s role as a national figurehead rather than an imperial one. The exhibition deftly illustrates this change. A key highlight is Beaton’s coronation portraits of Elizabeth II. It is majestic yet light in tone, suggesting youth and stability in a war-weary nation. But it’s the mid-century family moments that linger. Intimate snaps of Charles, Anne, and the Queen at Balmoral. Black-and-white studies by Lord Snowdon that depict Princess Margaret in vulnerable, theatrical poses. These images oscillate between candour and performance, inviting viewers to engage with the person behind the public script.

 

There is a noticeable pivot in tone by the 1980s. As tabloid culture intensified and television brought royal life ever closer, the photographic language of monarchy grew more complex. Mario Testino’s glossy portraits of Diana, Princess of Wales, are displayed alongside press shots that chart her transformation from ingénue to icon to cultural martyr. The curators handle this material tactfully. They give a respectful yet clear-eyed view of how media scrutiny and image-making collided with, and at times overwhelmed, the lives of individuals within the institution.

 

This section also includes poignant and seldom-seen portraits of Prince William and Prince Harry with their mother. There are also formal engagement photographs of contemporary royals. It’s a reminder that while the medium has changed, the aim remains the same: to frame royalty in ways that resonate across generations.

Royal Portraits: A century of Photography – Review

The final rooms focus on the present and the future. It showcases recent portraits of King Charles III, the Duchess of Cambridge, and other members of the royal family. These works are highly polished, often collaborative, and increasingly reflective of contemporary values. Environmental awareness, mental health advocacy, and cultural inclusivity are echoed in portraits that move beyond grandeur and towards accessibility.

 

Portraits of Catherine, Princess of Wales, for instance, display a keen awareness of her role as both style icon and maternal figure. A striking image by Paolo Roversi shows her in a red Alexander McQueen gown, her expression serene but strong. Similarly, images of King Charles with his grandchildren evoke a kind of grandfatherly warmth that was absent from earlier generations. This shift is neither accidental nor purely aesthetic. It shows a royal family increasingly aware of its need to be seen as relevant, humane, and connected.

 

Throughout the show, wall texts and display cases offer context without overwhelming. Letters, photographic equipment, and press materials enrich the narrative, drawing links between photographer and subject. There is even a modest display of royal Christmas cards—a gentle nod to the domesticity behind the crown.

A Delicate Balancing Act

“Royal Portraits: A Century of Photography” walks a fine line between reverence and realism. The curatorial team deserves credit for resisting both excessive deference and sensationalism. This is not a PR campaign in disguise, nor is it an exposé. It is a carefully considered exploration of how photography has been used to navigate, reinforce, and occasionally challenge the public understanding of royalty.

 

Perhaps its greatest success lies in how it invites viewers to read images critically. We are encouraged to think not just about who is being photographed, but why, and how. What choices did the photographer make? What role did the subject play in shaping their own image? And how does our own gaze, shaped by familiarity with screens and stories, influence what we see?

 

The exhibition closes with a digital slideshow of recent social media portraits. Instagram posts from the Prince and Princess of Wales, behind-the-scenes snapshots of royal charity work, and formal images released to mark milestones. It is a reminder that the photograph, once a rare and solemn artefact, is now a tool of instant communication. Yet even in its most modern form, it remains a powerful frame through which monarchy is both revealed and curated.

 

Royal Portraits: A century of Photography – Review

“Royal Portraits: A Century of Photography” is more than a collection of royal faces. It is a study in transformation of image, technology, and the institution itself. Richly sourced, sensitively displayed, and intellectually engaging, it is a must-see for anyone interested in the intersection of photography, culture, and power. Whether you come for the Beaton glamour, the Snowdon introspection, or the fresh faces of a new generation, you’ll find yourself drawn into a visual narrative that continues to evolve.