With US President Donald Trump’s upcoming State Visit to the UK, Buckingham Palace has just released a behind-the-scenes video of the royal library and archives.

The video promises “behind-scenes preparations” from the side of the Palace.

The video contained a caption as well that offers more insight and reads, “for every State Visit, the Library and Archives team bring together historically significant material from The Royal Collection to showcase in an exhibition for the visiting Head of State.”

Check it out Below:

For those unversed, the BBC reports that the President’s visit will begin on Tuesday 16 September and stretch into Thursday 18 September, 2025.

The president will be accompanied by his first lady Melania Trump, for his second visit State Visit, albeit the first with King Charles as monarch.

While the initial dates of his arrival were Wednesday 17 September to Friday 19 September, plans soon got moved due to the President’s schedule.

According to Sky News, President Trumps’ invite was handed in person by Sir Keir Starmer, during his own visit to the White House back in February of this year.

The founder of PR agency The Atticism has just offered his take on the ‘best’ strategy for Prince Harry, given his recently successful meeting with King Charles, at Clarence House.

For those unversed with this visit, it happened during a four day visit the Duke made to the UK. There he visited various charities like the WellChild Awards as well as the Children in Need Initiative.

With all this in the rearview, the expert, Renae Smith spoke to Express with her thoughts.

“The best strategy for Harry now is slow and steady,” she started right off the bat saying.

And “if he can keep this up for a year or so, I’d call that a full image reset.”

She even hailed the Duke for his “huge success” in the UK and said he ‘ticked’ all the boxes he needed.

She was also quoted saying, “from a PR perspective, the strength was in its authenticity. Every engagement felt genuine, with a clear philanthropic thread running through it. I’ve always said philanthropy is his safest and strongest space. It plays to his strengths without inviting controversy.”

“Another big win was tone,” she added. Because throughout the whole four day visit, “nothing felt gloaty or self-congratulatory. Harry avoided the trap of making charity work about himself or making snarky remarks during speeches etc, he just got on with it, and that’s exactly what people want to see from him.”

Plus “the meeting with his father was also handled well. It wasn’t dramatic, it didn’t spark gossip, and that quieter energy is exactly what he needs.”

So “if I were advising him, I’d be calling this trip a huge success, it ticked every PR box,” she added in her concluding remarks. 

Monet … Degas … Renoir. When we think of French Impressionism, it’s the usual suspects who spring to mind. But one lesser-known artist is ripe for rediscovery.

“Gustave Caillebotte is probably the least-known of the Impressionist painters,” said Gloria Groom, co-curator of a new exhibition of the works of Caillebotte, now on display at the Art Institute of Chicago. “I think he’s still not completely integrated into that story. He’s still kind of the outsider.”

The museum has long been home to the artist’s most recognizable painting, “Paris Street – Rainy Day.”

“People, they may not know Gustave Caillebotte’s name, but if you say the painting with the umbrellas, they all know it,” said Groom. “And so you start thinking, okay, it’s all about this bourgeois couple walking down the street. But it’s not, because there’s a painter with a ladder, the charwoman who’s opening her umbrella, all these different types of people.”

“Paris Street – Rainy Day” played a supporting role in the beloved movie “Ferris Bueller’s Day Off”. While it was out on loan, museum-goers were bereft. “We got letters,” said Groom. “But you can’t be part of an exhibition to be a partner if you don’t lend the major work for the exhibition. So, we made that sacrifice. And now we’re celebrating its return.”

The exhibition looks at Caillebotte’s work from a new perspective. While his peers were painting ballerinas and landscapes, Caillebotte’s canvases focused on men to a degree unusual for the time.

Groom said, “He’s looking at the men in his life, he’s looking at the relationships. But he’s not just doing, you know, macho masculinity. He’s doing men in interiors, men on sofas, men looking out a window, kind of turning the tables in many ways.”

Some of the paintings scandalized the French art establishment. “The Floor Scrapers” was rejected from a prestigious art exhibition.

And, at another exhibition, a painting featuring a nude man was relegated to a small, inaccessible room. “It’s a male nude, but not an Adonis,” said Groom. “It’s shocking even today. It’s a beautiful, beautiful painting, and it’s sensuous. Let’s face it, it’s sensuous!”

When this exhibition opened in Paris last year with the title “Painting Men,” some critics condemned what they considered the show’s insinuation of Caillebotte’s homosexuality. The artist never married, but shared the last decade or so of his life with a female companion.

But the show moved on to Chicago with a new title – “Painting His World” – which has others saying the changed title minimizes the artist’s focus on the same sex.

Gloria Groom says, quite simply, the paintings speak for themselves: “The paintings are the paintings, and that’s what we’re interested in. We try to open it up to all kinds of interpretations, and people will see what they want to see.”

Gustave Caillebotte died in 1894. He was just 45. All these decades later, people are still seeing what they want to in his beguiling artistry.

      
For more info:

• Gustave Caillebotte: Painting His World, at the Art Institute of Chicago (through Oct. 5)
• Exhibition catalogue: “Gustave Caillebotte: Painting Men,” edited by Scott Allan, Gloria Groom and Paul Perrin (J. Paul Getty Museum), in Hardcover, available via Amazon, Barnes & Noble and Bookshop.org
• Gustave Caillebotte. “Paris Street; Rainy Day,” 1877. The Art Institute of Chicago, Charles H. and Mary F. Worcester Collection
• Gustave Caillebotte. “Floor Scrapers,” 1875. Musée d’Orsay, Paris, Gift of the Caillebotte heirs through Auguste Renoir, 1894. Photo courtesy of Musée d’Orsay, Dist. GrandPalaisRmn/Franck Raux
• Gustave Caillebotte. “Man at His Bath,” 1884. Museum of Fine Arts, Boston, Museum purchase with funds by exchange from an Anonymous gift, Bequest of William A. Coolige, Juliana Cheney Edwards Collection, and from the Charles H. Bayley Picture and Painting Fund, Mary S. and Edward J. Holmes Fund, Fanny P. Mason Fund in memory of Alice Thevin, Arthur Gordon Tompkins Fund, Gift of Mrs. Samuel Parkman Oliver – Eliza R. Oliver Fund, Sophie F. Friedman Fund, Robert M. Rosenberg Family Fund, and funds donated in honor of George T.M. Shackelford, Chair, Art of Europe, and Arthur K. Solomon Curator of Modern Art 1996–2011. Photo © 2025 Museum of Fine Arts, Boston
• Footage courtesy of Musée d’Orsay Digital Department/YouBLive

     
Story produced by Robert Marston. Editor: Steven Tyler. 

     
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