Animal rights activists have targeted the new portrait of the King in a “light-hearted” protest over RSPCA-approved factory farms.

The fiery painting of the King in a bright red uniform of the Welsh Guards was not harmed in the attack in London’s Philip Mould Gallery.

Supporters of Animal Rising stuck posters of animation character Wallace, from Wallace and Gromit, onto the royal portrait’s glass covering.

The King’s face was pasted over with a poster of Wallace’s head and a speech bubble reading “No Cheese, Gromit. Look At All This Cruelty On RSPCA Farms!”

Animal Rising said the attack was “light-hearted” but was designed to make a serious point about factory farms that have the RSPCA’s seal of approval.

Animal Rising said it had investigated 45 RSPCA-assured farms and found animals living in “overcrowded and filthy sheds, living and dying in pain from lack of care”.

“With King Charles being such a big fan of Wallace and Gromit, we couldn’t think of a better way to draw his attention to the horrific scenes on RSPCA Assured farms,” animal supporter Daniel Juniper said.

“Even though we hope this is amusing to His Majesty, we also call on him to seriously reconsider if he wants to be associated with the awful suffering across farms being endorsed by the RSPCA.

“Just as Feathers McGraw fooled Wallace into a bank heist, the RSPCA has been fooling the British public into thinking their factory farms are – in any way – an acceptable place for animals to live.”

The head of British animated character Wallace, from Wallace and Gromit. Photo: Animal Rising

The portrait by artist Jonathan Yeo was the first of the King since he assumed the throne, and was unveiled to a very mixed reception in May.

“Who approved King Charles III’s new portrait cuz it looks like he’s in hell?!” wrote American comedian Kristen Van Nest on X.

“I think Charles has been ill-advised with this portrait,” wrote another critic.

However, the Queen was more complimentary.

“Yes, you’ve got him,” she said when Yeo’s larger-than-life painting was unveiled at Buckingham Palace.

British art historian Richard Morris said Yeo was “the go-to artist for slightly edgy but convincingly recognisable contemporary portraits”.

“Before photography, to have a great painter capture your real appearance, you accepted the revelation of your flaws and your mortality. It’s what Yeo captures here,” he said.

Yeo’s work captures the 75-year-old King with his hands clasped atop the hilt of his sword and a monarch butterfly flitting above his right shoulder.

Yeo began the portrait more than a year before the King came to the throne, with a sitting at the then-Prince of Wales’ Highgrove estate in June 2021.

The last sitting was in November 2023 at Clarence House, one of the King’s residences in London.

“When I started this project, His Majesty The King was still His Royal Highness The Prince of Wales, and much like the butterfly I’ve painted hovering over his shoulder, this portrait has evolved as the subject’s role in our public life has transformed,” Yeo said.

The portrait will be on display at the Philip Mould Gallery in London until June 14.

From the end of August, it will be displayed at London’s Drapers’ Hall.

The 2.6-metre by 2.0-metre portrait was commissioned to celebrate the King’s 50 years as a member of the Drapers’ Company, which was set up more than 600 years ago as a trade association for wool merchants.

Philanthropy came to be part of its mission and the company is now a grant-giving body.