A Prince, His Portrait and A Painter

Yinka Olatunbosun

A historic intersection of contemporary African art and British royal tradition, was witnessed recently as Nigerian artist Oluwole Omofemi captured Prince William in a portrait that serves as a modern companion to his 2022 painting of the late Queen Elizabeth II.

Famed for his vibrant, expressive style that hinges on the beauty of Black identity and the significance of hair, Omofemi’s approach to the Prince of Wales is one of refined simplicity which the British media deemed “flattering.” While Omofemi typically works with a palette of deep oils and intricate textures, this portrait balances the formal expectations of royal iconography with a contemporary, soulful lens.
Omofemi taps into a “Pop Art” sensibility filtered through traditional oil techniques. In his royal works, he uses light and shadow to create a sense of approachability, moving away from the stiff, distant nature of historical court paintings.
Having been commissioned by Tatler to paint the Queen for her Platinum Jubilee, Omofemi’s depiction of William represents a bridge between generations as the work reflects the Prince’s evolving role as the heir to the throne and a modern face of the British monarchy.
For the artist, the opportunity to paint high-ranking members of the British Royal Family is more than a commission; it is a testament to the global reach of the contemporary Nigerian art scene. Omofemi’s work places West African artistic perspectives at the heart of global heritage, reimagining power and legacy in the 21st century.
In a virtual encounter, he revealed the considerations that preceded the creation process.

“When I worked on this piece, I wasn’t trying to make something overly grand. I wanted it to feel present, calm, and relatable,” he said. “There’s a quiet energy in the portrait—not loud or dramatic, but thoughtful. It’s about showing responsibility in a way that still feels human, something people can connect with, without needing too much explanation.”

While reflecting on his use of colours, he noted how his choice accounts for the continuity in the series of royal paintings.

“The yellow tone, which also appears in the Queen’s portrait, became a natural link between the two,” he explained. “In both works, it speaks to royalty and continuity, but here it feels softer, more open—like something that is still evolving. It connects the two portraits as part of the same story, while still allowing each one to stand on its own.”
Even when painting figures outside of his usual subject matter, the artist retains his fascination with light and the “soul” of the sitter, often emphasizing the eyes to create a direct, personal connection with the viewer.
This portrait stands as a milestone in Omofemi’s career, further cementing his status as a storyteller who can navigate the nuances of identity, from the streets of Lagos to the halls of Windsor.

“When I was approached by Tatler to do the portrait of Prince William for the cover, I searched all over the internet for inspirational images,” he recounted. “I came up with a few that inspired me from how they brought out the Prince’s essence and gave a sense of what kind of a prince he is and what kind of King he could become. I printed all of them and studied them.”

He found one image in particular on google that intrigued him. Subsequently, he made some blockings on the canvas and added colours.

“I went with the yellow to mirror the Queen’s portrait done a few years ago, to symbolise the past and future. I also added a crown on top of his head as a symbol of the future king. In addition, I included certain elements of my own heritage such as the designs on the tie, which mean a lot to me and where I grew up.”

“There’s also a faint image of St Edward’s Crown within the piece,” he continued. “I didn’t treat it as something fully present or possessed, but more as something approaching. Its faded quality reflects that sense of inheritance—something not yet fully claimed, but already felt. It carries a certain weight, more expectation than authority. In that way, it ties closely to the title ‘Heir,’ placing the portrait in that space between becoming and being.”

By including subtle references to African textile traditions, he added depth and perspective.

“In the end, these portraits are less about two individuals and more about a shared story. They speak to legacy, continuity, and change. This work, in particular, sits in that in-between space—where the past is still present, and the future is slowly taking shape.”

For Omofemi, this work is an offshoot of his continuing interest in portraiture as a way of exploring identity, memory, and presence. The painting communicates character and emotional weight which was not lost on the public.

“The timing felt right because we are in a moment where public figures are constantly seen, but not always deeply observed. I wanted to make a portrait that invites people to look again,” he said.

The portrait of Queen Elizabeth II engaged more directly with history, continuity, and legacy. This work is more immediate and contemporary; less about institution and more about the tension between public image and inner humanity. While both are portraits of major figures, they speak in very different emotional languages.

“I worked with oil on canvas. Oil gives me the depth, richness, and flexibility I need in portraiture. It allows me to build the painting gradually through layers, creating subtle transitions in tone, texture, and atmosphere. For me, oil helps carry both the emotional weight and physical presence I want the work to have.”

With the goal of sparking conversation and engaging people emotionally, the artist creates a timeless portrait of histo-cultural significance.

“I am interested in figures whose presence carries cultural, historical, or symbolic significance. But for me, it is never just about visibility — there has to be something deeper that can be explored through paint.”