Editing John Everett Millais (section)

===Later works===
[[File:Millais - Überfahrt nach Nordwest.jpg|thumb|left|''[[The North-West Passage]]'' (1878) Tate Britain, London]][[File:CherryRipe1879 by John Everett Millais.jpg|thumb|180px|''Cherry Ripe'' (1879), Private Collection]]
After his marriage, Millais began to paint in a broader style, which was condemned by Ruskin as "a catastrophe". It has been argued that this change of style resulted from Millais's need to increase his output to support his growing family. Unsympathetic critics such as [[William Morris]] accused him of "selling out" to achieve popularity and wealth. His admirers, in contrast, pointed to the artist's connections with [[James McNeill Whistler|Whistler]] and [[Albert Joseph Moore|Albert Moore]], and influence on [[John Singer Sargent]]. Millais himself argued that as he grew more confident as an artist, he could paint with greater boldness. In his article "Thoughts on our Art of Today" (1888), he recommended [[Diego Velázquez|Velázquez]] and [[Rembrandt Harmenszoon van Rijn|Rembrandt]] as models for artists to follow. Paintings such as ''The Eve of St. Agnes'' and ''The Somnambulist'' clearly show an ongoing dialogue between the artist and Whistler, whose work Millais strongly supported. Other paintings of the late 1850s and 1860s can be interpreted as anticipating aspects of the [[Aesthetic Movement]]. Many deploy broad blocks of harmoniously arranged colour and are symbolic rather than narratival. From 1862, the Millais family lived at 7 Cromwell Place, Kensington, London.<ref>{{cite web |url=http://www.tate.org.uk/learn/online-resources/ophelia/john-everett-millais |title=''John Everett Millais 1829–1896,'' Tate Gallery, London |publisher=Tate.org.uk |access-date=29 January 2014 |archive-date=6 August 2017 |archive-url=https://web.archive.org/web/20170806103314/http://www.tate.org.uk/learn/online-resources/ophelia/john-everett-millais |url-status=dead }}</ref>

Later works, from the 1870s onwards demonstrate Millais's reverence for [[Old Master]]s such as [[Joshua Reynolds]] and Velázquez. Many of these paintings were on an historical theme. Notable among these are ''The Two Princes Edward and Richard in the Tower'' (1878) depicting the [[Princes in the Tower]], ''The Northwest Passage'' (1874) and the ''Boyhood of Raleigh'' (1871). Such paintings indicate Millais's interest in subjects connected to Britain's history and expanding empire. Millais also achieved great popularity with his paintings of children, notably ''[[Bubbles (painting)|Bubbles]]'' (1886) – famous, or perhaps notorious, for being used in the advertising of ''[[Pears soap]]'' – and ''[[Cherry Ripe (painting)|Cherry Ripe]]''. His last project (1896) was to be a painting entitled "The Last Trek". Based on his illustration for his son's book, it depicted a hunter lying dead in the [[veld]]t, his body contemplated by two onlookers.