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The National Portrait Gallery acknowledges the Traditional Custodians of Country throughout Australia and recognises the continuing connection to lands, waters and communities. We pay our respect to Aboriginal and Torres Strait Islander cultures and to Elders both past and present.

Aboriginal and Torres Strait Islander viewers are warned that this website contains images of deceased persons.

Norman Lindsay, 1921

Harold Cazneaux

gelatin silver photograph on paper (sheet: 30.5 cm x 25.5 cm, image: 30.5 cm x 25.5 cm)

Norman Lindsay (1879-1969), artist, cartoonist, and writer, came from a family that produced five artists. Lindsay left home when he was sixteen to live with his brother in Melbourne. In 1901 he moved north to make his permanent home in the Blue Mountains, working for the Bulletin in an association that lasted almost to his death. His first novel was published in 1913, and by the 1920s he was both proficient and prolific in pen and ink drawing, etching, woodcuts, painting and sculpture. Lindsay loathed Christianity, and his art depicts Bohemianism and Arcadian pantheism madly admixed in a fantasy world. As early as 1904 his work was deemed blasphemous; in 1930 his novel Redheap was banned and the following year the police proceeded against an issue of Art and Australia that showcased his art. Lindsay’s work remains popular with collectors, and his cheerfully violent story The Magic Pudding (1918) retains its status as a classic of Australian children’s literature.


Collection: National Portrait Gallery
Gift of Richard King 2008
Donated through the Australian Government's Cultural Gifts Program

Accession number: 2008.21

Currently on display: Gallery Seven (Ian Potter Gallery)

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Artist and subject

Harold Cazneaux (age 43 in 1921)

Norman Lindsay (age 42 in 1921)

Subject professions

Visual arts and crafts

Donated by

Richard King (16 portraits)

Related information

The Companion

Permanent collection catalogue

Café and shop

On one level The Companion talks about the most famous and frontline Australians, but on another it tells us about ourselves: who we read, who we watch, who we listen to, who we cheer for, who we aspire to be, and who we'll never forget. The Companion is available to buy online and in the Portrait Gallery Store.

Ethel Turner, 1928 Harold Cazneaux
Ethel Turner, 1928 Harold Cazneaux
Ethel Turner, 1928 Harold Cazneaux
Ethel Turner, 1928 Harold Cazneaux

Moving in creative circles

Magazine article by Joanna Gilmour, 2008

Harold Cazneaux's portraits of influential Sydneysiders included Margaret Preston and Ethel Turner, both important figures in the development of ideas about Australian identity and culture.

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The National Portrait Gallery acknowledges the Traditional Custodians of Country throughout Australia and recognises the continuing connection to lands, waters and communities. We pay our respect to Aboriginal and Torres Strait Islander cultures and to Elders both past and present.

Aboriginal and Torres Strait Islander viewers are warned that this website contains images of deceased persons.