Charles II: Art & Power review – A splendid depiction of the Restoration

The enduring image of the Restoration is one of magnificence: fountains running with wine as Charles II returned from exile in 1660; Samuel Pepys being “overcome” with the visual glory of his 1661 coronation.

We’re mostly kept waiting for such splendour: other than the gold and silver gilt regalia produced for the coronation, documentation and archival material telling the story of the Restoration dominate the early rooms.

Then, whoosh: resplendence in the central gallery. John Michael Wright’s portrait of Charles is all swagger and bling. Nearby are, among others, portraits of the women in court, which emphasise Charles the notorious shagger: his extravagant queen, Catherine of Braganza, by Jacob Huysmans, one the “Windsor Beauties”; Barbara Villiers, who bore the king five children, by Peter Lely; and his later mistress Louise de Kéroualle, by Philippe Vignon.

The best portraits are by Lely, an almost great artist. He caught what Alexander Pope described as “the sleepy eye, that spoke the melting soul”, and yet never quite matches the sumptuous shimmer of Anthony Van Dyck, Charles I’s court painter.

Charles II managed to recover some of his father’s collection, much sold off by Cromwell. He also welcomed remarkable gifts of paintings from the Dutch state and drawings by Earl of Arundel. A Titian from the Dutch Gift and a series of Leonardo studies from the Earl are among the real gems.

Until May 13 (020 7839 1377, royalcollection.org.uk)