H.M. Queen Elizabeth II, 1952-2022

Her Majesty Queen Elizabeth II is the most recognizable figure in the world and a symbol of continuity and stability between multiple generations across the Commonwealth. As the head of state, her image — primarily photographic — has permeated educational institutions, and public and government buildings. Painted portraits of Her Majesty are rare and offer viewers a multitude of interpretations, as opposed to studio photographs that are primarily documentary in nature.

The choice of Quebec’s Lilias Torrance Newton (November 3, 1896 - January 10, 1980) to paint a portrait of the Monarch in 1957 demonstrated her ascendance to the upper echelons of Canadian portraiture — she was the unanimous choice of the trustees of the National Gallery of Canada to do this work.  A founding member of the Canadian Group of Painters and the Beaver Hall Group, Torrance Newton surrounded herself with the creative class, forging a space for female artists to grow and develop within a male-dominated profession. Through her association and leadership within these groups, commissions and exhibition opportunities were readily available. As the first Canadian artist to be commissioned by the Government of Canada to paint portraits of Queen Elizabeth II and Prince Philip, her reputation as a skilled, professional portraitist was validated.

Torrance Newton’s 1957 diary notes that the artist had eight sessions with the Queen and Prince over the course of a two-week period at Buckingham Palace. She settled into her studio on Monday, March 11, noting it was the “best studio she ever had.” She chose the dress and jewels Her Majesty would wear and had her first sitting with the Queen on March 14, noting, “very pretty, shy, stiff in pose, considerate… Showed her Duke’s sketch — obviously pleased with it.” The dress and jewels stayed with the artist so she could study them more intensely between sittings. Her time at the palace was focused on doing preparatory sketches; the intention was to capture the presence of the sitters and translate that into larger canvasses — the official portraits.

Her Majesty’s portrait features a frontal pose with a direct gaze towards the viewer. This composition is quintessential Lilias Torrance Newton; many of her portraits completed during this period reflect this approach. She is dressed in a warm yellow dress that is complimented by a blue sash, the Order of the Garter and diamond jewelry — broach, necklace and diadem.  Surrounding her is a neutral, non-descript background interior with earthy tones that emphasizes the Queen’s head. The focus of the portrait is on the presence of Her Majesty within an interior that is punctuated by the sitter wearing bright red lipstick. Although the Queen is seen frontally, there is dynamism in the work through the folds of her dress and the Garter sash. Torrance Newton manages to gain a sense of intimacy by cropping the dress at the edge of the image but the Queen’s rank and role within government is suggested by the slightly remote expression. The composition denotes Torrance Newton’s approach to her subject as one of respect, reverence and confidence. The Queen’s humanity is captured through the artist’s use of a warm colour palette — she emanates a radiance that signifies her youth in contrast to her life’s work. 

Darrin Martens is the CEO of the Galt Museum and Archives in Lethbridge, Alberta.