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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.

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National Portrait Gallery and Access2Arts staff presenting on audio description at the Australian Museums and Galleries Association National Conference

Our achievements to date

Disability Inclusion Action Plan 2023–25

During the period 2018–20, the Gallery implemented our first Access Action Plan.

Andrew Sachs (‘Manuel’)

Star signs

Magazine article by Barry York, 2018

Barry York charts the course from childhood request to autographed celebrity portrait anthology.

Charles Haddon Chambers

Suave

Magazine article by Dr Sarah Engledow, 2010

Charles Haddon Chambers the Australian-born playboy playwright settled permanently in London in 1880 but never lost his Australian stance when satirising the English.

Quong Tart, 1880s

Finest quality

Magazine article by Joanna Gilmour, 2010

Joanna Gilmour explores the life of Chinese-Australian businessman and philanthropist Quong Tart.

Self portrait, 1786 by John Kay

Alternative virtue

Magazine article by Joanna Gilmour, 2015

Joanna Gilmour presents John Kay’s portraits of a more infamous side of Edinburgh.

Osher, 2018 by Stephen Baccon

Snap chat

Magazine article by Anne O'Hehir, 2019

2019 National Photographic Portrait Prize judge Anne O’Hehir looks beneath the surface of this year’s entries.

Rehearsing Godot (Mullins as Lucky) 4.11.2013 by Nicholas Harding

Waiting for Godot

Magazine article by Dr Sarah Engledow, 2015

'Artist and actors, advancing spasmodically, find their rhythm together' writes Sarah Engledow.

Lustre, held by a Groom, ca. 1762 by George Stubbs

Stubbs and the horse

About Face article

One of the chief aims of George Stubbs, 1724–1806, the late Judy Egerton’s great 1984–85 exhibition at the Tate Gallery was to provide an eloquent rebuttal to Josiah Wedgwood’s famous remark of 1780: “Noboby suspects Mr Stubs [sic] of painting anything but horses & lions, or dogs & tigers.”

Patrick Ryan, 1968 by Mark Strizic

The silent partner

Magazine article by Dr Sarah Engledow, 2015

One half of the team that was Eltham Films left scarcely a trace in the written historical record, but survives in a vivid portrait.

Lesley Harding

Faces of war

Lecture, 14 May 2011

General content

Lesley Harding, Curator, Heide Museum of Modern Art, Melbourne explores Albert Tucker’s experience of World War II, his interests in the intersection between psychology and creativity, and their influence on his portrait making.

Ken Done, 2016 by Mark Mohell

Ken Done

Explore The Popular Pet Show

With a mum who was married to a tradie, you’d think it a fair chance that the baby Jesus would have grown up with a dog in the house.

Ang Retabla Rizalista (Relikaryo ni Arnulfo Tikb-ang) 2011 The Rizalian Retablo (Reliquary by Arnulfo Tikb-ang)
by Alwin Reamillo

Alwin Reamillo

by Christine Clark

Alwin Reamillo was born in Manila, Philippines in 1964. He studied painting at the University of the Philippines College of Fine Arts, and began his career as a visual art teacher at the Philippine High School for the Arts.

A surface against which we can move, 2014 by Sam Leach

No small wonder

Magazine article by Joanna Gilmour, 2015

Joanna Gilmour describes how artist Sam Leach works on a small scale to grand effect.

Self portrait with gladioli

Money and swat

Magazine article by Andrew Sayers AM, 2007

Andrew Sayers discusses the real cost of George Lambert's Self portrait with gladioli 1922.

Ms Anna Burke MP, Speaker of the House of Representatives 2015 by Jude Rae

Hired guns, bounty hunters and horse whisperers

Magazine article by Jude Rae, 2016

Jude Rae contemplates the portrait commission.

As long as you're here, 2013 by Tony Curran

Touchy touchy

Magazine article by Tony Curran, 2015

Tony Curran ponders whether our phones can change the course of painting.

© National Portrait Gallery 2024
King Edward Terrace, Parkes
Canberra, ACT 2600, Australia
Phone +61 2 6102 7000
ABN: 54 74 277 1196

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 past and present. We respectfully advise that this site includes works by, images of, names of, voices of and references to deceased people.

This website comprises and contains copyrighted materials and works. Copyright in all materials and/or works comprising or contained within this website remains with the National Portrait Gallery and other copyright owners as specified.

The National Portrait Gallery respects the artistic and intellectual property rights of others. The use of images of works of art reproduced on this website and all other content may be restricted under the Australian Copyright Act 1968 (Cth). Requests for a reproduction of a work of art or other content can be made through a Reproduction request. For further information please contact NPG Copyright.

The National Portrait Gallery is an Australian Government Agency