In the Colorado State Capitol, a new portrait of President Donald Trump has become a topic of spirited debate following the artist's completion of the piece. Sarah A. Boardman, the talented painter behind the piece, was commissioned in 2018 after a successful crowdfunding effort led by Colorado Senate President Kevin Grantham. The portrait's unveiling in 2019 brought attention to the need for a rightful representation of Trump amongst the mounting gallery of presidential portraits, now marred by Trump's recent critique that the painting is "truly the worst" compared to Barack Obama’s portrait, also crafted by Boardman.
At the center of the controversy, Trump, now 78, recently voiced his discontent on March 23, 2025, saying, "The artist also did President Obama, and he looks wonderful, but the one on me is truly the worst. She must have lost her talent as she got older." This statement sparked renewed interest in Boardman’s artistic vision, revealing conflicting opinions surrounding her representation of Trump.
Boardman, who carefully navigates the intricacies of artistic expression amid political agendas, has expressed her objective to depict each subject neutrally. She asserts, "In five, 10, 15, 20 years, he will be another President on the wall who is only historical background, and he needs to look neutral." This thoughtful approach has led her to focus on creating a balanced portrayal that speaks to future viewers rather than to current political sentiment.
Interestingly, the portrait commission followed a mischievous incident when a Democratic staffer prank-remotely placed a portrait of Russian President Vladimir Putin in the gallery slot designated for Trump. The initial call for funding raised $10,000 through a mix of Republican and Democratic contributions, demonstrating a shared investment in restoring the artistic integrity of the Capitol's presidential representation.
Amidst the ongoing discussions about artistic interpretation, Colorado Governor Jared Polis responded to Trump's recent remarks with a nuanced touch of humor, stating, "We appreciate the President and everyone’s interest in our Capitol building and are always looking for any opportunity to improve our visitor experience." His words reflect the challenge of balancing the narrative surrounding such portraits while acknowledging their historical significance.
Amidst the current uproar, Boardman insists on the distinction between political controversy and artistic freedom. She noted, "Being president is the qualification for entry into the gallery, and I respect that qualification on face value as I did with the portrait of President Obama." This statement emphasizes a principle of respect for historical narratives over transient political strife.
Throughout the years, many presidents have had difficult relationships with their official portraits — Theodore Roosevelt notably despised his 1902 White House portrait so much that he had it destroyed. Trump's comments align with this historical precedent, highlighting the subjective nature of art and its reception by the public.
Additionally, Boardman called attention to the broader implications of public sentiment toward presidential imagery. Opposition to their portraits often stems from political beliefs and the personalities of those depicted. Reflecting on her experience, Boardman added that there will always be a variety of responses to any president, and she strives to represent each one in a balanced light.
As public discourse continues, the fate of Trump’s portrait, whether it remains in the Colorado State Capitol or is removed due to backlash and debate, remains uncertain. However, Boardman’s commitment to neutrality — choosing to portray Trump as "non-confrontational" and "thoughtful" — is a reminder of the role art plays in interpreting history and politics, pushing viewers to engage with the past in varied, complex manners.
As the dynamic surrounding the portrait unfolds, one thing becomes clear: the eyes of society are firmly placed on how we choose to depict our leaders, both in their times and as they transition into history. Whether hailed as a representation or criticized as distortion, the portrait will continue to evoke opinions that reflect the complexities of personal perception within the public space.
