Eurocentricks did not and do not create “fæke” portraits of so called black nobility...Whenever you encounter such portraits, their authenticity and historical accuracy are not in question…Each one of these portraits were painted by Europe’s most renowned artists and master painters between the 16th and 19th centuries…Furthermore, these artists held prestigious roles as official court painters, serving monarchs such as Louis XIV and George III, solidifying the historical context and legitimacy of their works…Notably, many of these portraits were commissioned and completed during the very year of a monarch’s coronation…Having portraits painted for significant events like coronations or ascensions to the throne was quite common among the aristocracy and royalty…It was a way to commemorate and visually document important moments in their lives…These portraits often served to display power, status, and lineage, and they were sometimes commissioned not only by the individuals themselves but also by the court or other nobles as gifts or displays of loyalty…Only aristocratic families could afford commissioned portraits...The subject must be notable if a portrait was commissioned... Historically, portrait paintings have primarily memorialized the rich and powerful, not slaves or servants...A painted portrait was often seen as a luxury, they were painted for special occasions and important people...In a society dominated increasingly by secular leaders in powerful courts, images of opulently attired figures were a means to affirm the authority of important individuals...Slaves were not draped in velvet, silk, fur and jewelry, and they certainly weren’t immortalized by the finest painters of the time…These curators and so called historians are quick to claim that any Black figure in European portraits was an “African slave” or a product of slavery…This “African slave” explanation is thrown out without requiring any real proof, simply because it fits a more comfortable and less disruptive narrative to those who want to maintain an all-white image of European aristocracy…What they avoid discussing is the fact that portraits in this era were primarily reserved for nobility, clergy, or high-ranking individuals…These are not “exotic” figures plucked from distant lands (Africa) for the sake of novelty…European monarchs were far too concerned with maintaining their dynastic grip on power to indulge in tokenism or symbolic gestures of diversity…