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Drawing on the first-class collections of paintings, works on paper (including drawings, photography and posters) and archival material, such as private papers, journals and memoirs, held at the National Maritime Museum, London, the artistic response to the war at sea is analysed in the context of specific focus points such as the major arenas of naval conflict; life on board ships, aircraft carriers and submarines; the experiences of prisoners of war and the response of artists to the commemoration and legacy of key maritime events.  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The first Pre-Raphaelite picture he produced, The Carpenter's Shop, had a dramatic effect on the critics; Charles Dickens described his portrayal of the child Christ as a 'hideous, wry-necked, blubbering, red-haired boy in a night-gown.' Millais later became the quintessential English gentleman artist, a Baronet and president of the Royal Academy, producing some of the most famous images of the age. At the time of his death, however, there were some who believed that Millais had betrayed his extraordinary talent and vision by pandering to popular taste for the false rewards of money, status and Victorian respectability. In more recent times, Millais's career, after the disbanding of the Pre-Raphaelite Brotherhood, has been presented largely as an anti-climax. Yet it is these imbalances and diverse viewpoints that make a study of Millais so compelling. 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He was commissioned in 2017 to paint Barack Obama, becoming the first Black artist to paint an official portrait of a president of the United States. His work makes reference to old master paintings by positioning contemporary Black sitters in the pose of the original historical figures, raising issues of power and identity, and the absence or relegation of Black and minority-ethnic figures within European art.     For his first collaboration with a major UK gallery, Wiley will depart from portraiture to explore the European landscape tradition through the medium of film and painting, casting Black Londoners from the streets of Soho. His new works will explore European Romanticism and its focus on epic scenes of oceans and mountains, drawing inspiration from the National Gallery’s masterpieces in landscape and seascape.  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During the nineteenth century, the painting’s fame grew and full-length portraits by Gainsborough and his contemporaries became much sought after by wealthy American collectors. The sale of The Blue Boy to the American railroad magnate and collector Henry E. Huntington in 1921 was unsurprisingly viewed as a national tragedy—emblematic of a shift in economic and cultural power. However, its afterlife, as a permanent ambassador for British art, has undoubtedly fed into ideas of Britain and Britishness—its history, society, culture and character—that still resonate today. Including a select group of paintings that demonstrate the profound influence of Sir Anthony van Dyck and the old master tradition on Gainsborough’s practice and identity, Gainsborough’s Blue Boy will examine this masterpiece within the context of the National Gallery’s collection.     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