A watercolour painting of a scene from Richard III, predominantly in bold shades of red and blue. Charles Kean as Richard III sits on the edge of a bed in a tent with red drapery and gold embellishments. His posture is twisted: both feet rest on the ground as he turns to the left to place both hands on a small table, his head turns the other way to gaze off to the right. He wears a tunic with the royal arms, and plate armour on his arms and legs; a helmet topped with a crown is on the ground near his feet. The table also bears the royal arms, and further standards in royal colours are stacked on the right. A brazier casts a pool of light over Richard and the table, which bears writing implements. Outside the light there is a cannon, behind which a sentry stands with his back to the viewer, in long cloak and helmet, carrying a spear. The shapes of further tents are faintly rendered in the background, and the twisted branches of a tree against a deep blue night sky.
Image: A watercolour painting of a scene from Richard III, predominantly in bold shades of red and blue. Charles Kean as Richard III sits on the edge of a bed in a tent with red drapery and gold embellishments. His posture is twisted: both feet rest on the ground as he turns to the left to place both hands on a small table, his head turns the other way to gaze off to the right. He wears a tunic with the royal arms, and plate armour on his arms and legs; a helmet topped with a crown is on the ground near his feet. The table also bears the royal arms, and further standards in royal colours are stacked on the right. A brazier casts a pool of light over Richard and the table, which bears writing implements. Outside the light there is a cannon, behind which a sentry stands with his back to the viewer, in long cloak and helmet, carrying a spear. The shapes of further tents are faintly rendered in the background, and the twisted branches of a tree against a deep blue night sky.

Commissioned by Queen Victoria for her Theatrical Album, this watercolour shows Charles Kean as Richard III, a part for which his father, Edmund, had been particularly famous.

Victoria noticed upon first seeing him in 1838 that his costume and gestures closely resembled his father’s. Lundgren’s composition shows that David Garrick's interpretation also remained influential, over a century after Hogarth’s painting was first exhibited.

Kean’s imitation of these earlier actors shows a conventional image of Richard III gradually becoming entrenched through repeated Shakespearean performances.

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