Sutherland can so clearly see something in Churchill that Churchill can’t see in himself. And it’s in this realization that Churchill finds his painting of the pond has become an outlet that has both obscured and revealed the depths of his despair, the preoccupations of his mind. Viewers come to find out that Churchill put in this pond shortly after the death of his two-year-old daughter, Marigold. The framing itself indicated to me that you wanted us to see something beneath all the muted colors, deep down in the water. Beneath the tranquility and the elegance and the light playing on the surface, I saw honesty and pain, terrible pain. I think all our work is unintentionally revealing, and I find it especially so with your pond. Defensively, Churchill says he’s returned to the pond so many times because it is a technical challenge that eludes him, to which Sutherland responds that Churchill is actually eluding himself. Specifically, Sutherland remarks that Churchill’s painting of the goldfish pond is quite honest and revealing, considering the fact that he has painted it over twenty times. In return, Sutherland analyzes Churchill’s own paintings, a personal yet time-consuming hobby of his. After long sessions of sitting still and wondering if Sutherland would portray him in an ideal light, we watch an agitated and anxious Churchill question Sutherland’s painting style. Though the show’s writers have surely taken liberties to imagine how these more intimate moments would have gone, they present a scene that is a poignant depiction of how profoundly art can function in our lives. ![]() In The Crown’s retelling of British history, we find Winston Churchill having his portrait painted by the royal family’s artist Graham Sutherland.
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