Charles I at the Hunt (or Le Roi à la chasse), Anthony van Dyck, c.1635
Charles I at the Hunt – also known under its French title, Le Roi à la chasse – is an oil-on-canvas portrait of Charles I of England by Anthony van Dyck c.1635. It depicts Charles dressed in civilian clothing and standing next to a horse as if resting on a hunt, in a manner described by the Louvre as a “subtle compromise between gentlemanly nonchalance and regal assurance”.
Van Dyck gave his naturalistic style full expression: “Charles is given a totally natural look of instinctive sovereignty, in a deliberately informal setting where he strolls so negligently that that he seems at first glance nature’s gentleman rather than England’s King”. The 105 centimetres (41 in) by 76 centimetres (30 in) painting depicts Charles in lighter colours to the left of the painting, standing out against the darker ground and the shadowed servants and horse under a tree to the right; his dark hat prevents his face from appearing washed out by the sky. He stands dismounted, as if surveying his domain and the sea beyond (perhaps the Solent with the Isle of Wight visible in the distance), but with his head turned to give a slight disdainful smile towards the viewer. Charles was famously sensitive about his short stature, and the painting looks up towards the king from a low viewpoint. His kingship is proclaimed by a Latin inscription on a rock in the lower right corner, which reads “Carolus.I.REX Magnae Britanniae” (Charles I, King of Great Britain – a political statement at the time, only 32 years after his father James had united the crowns of Scotland and England, and proclaimed himself King of Great Britain, and nearly 70 years before the Acts of Union legally created the Kingdom of Great Britain).
Van Dyck’s Charles I at the Hunt, Smarthistory
Charles is dressed as an aristocratic gentleman in a wide-brimmed Cavalier hat, teardrop earring, shimmering silver satin doublet, red breeches, and turned-down leather boots, apparently resting during a day of hunting. He is girt with a sword, with one hand resting nonchalantly on a walking stick; the other rests on his hip, holding his gloves as a sign of his sovereignty and assurance. The painting also shows a young page and Charles’ picture-buying agent and favoured courtier, Endymion Porter, who is holding the horse. The horse seemingly bows its head in submission to the king.
In his three years as Principal Paint