Search / meredith mckinney



Gift of Barbara Blackman 2000. Donated through the Australian Government's Cultural Gifts Program.



Collection: National Portrait Gallery
Purchased 2012



Collection: National Portrait Gallery
Gift of Dr Robert Crocker 2003

Meredith Rogers, theatre director and academic, studied at the University of Melbourne and worked between 1974 and 1979 with Kiffy Rubbo at the Ewing and George Paton Galleries.
1 portrait in the collection

Meredith McKinney, subject of Charles Blackman's 'The Family', recounts memories from her childhood and the creation of the portrait.

Meredith Hughes explores a key Portrait Gallery work, emerging into the infinite iterations of identity.

In 2000, Barbara Blackman donated a portrait of her close friends - poet Judith Wright, her husband Jack McKinney and their daughter Meredith - painted by Charles Blackman.

Dr. Sarah Engledow explores the context surrounding Charles Blackman's portrait of Judith Wright, Jack McKinney and their daughter Meredith.

Judith Wright (1915–2000), poet, conservationist and Aboriginal land rights campaigner, was born at Thalgaroch Station, near Armidale, NSW, into a pastoralist family whose origins go back to the first settlement in the Hunter Valley in the 1820s.
3 portraits in the collection

I had been watching Agnes with intrigue, her face and profile were so mesmerizing. On our final day together I pulled her aside and convinced her that she had such an amazing face that I needed to get a photograph for myself. It was very spontaneous in that I decided quickly how it would best look and shot it in only two frames.

Anna Frances Walker (1830–1913), botanical artist and collector, was one of the thirteen children of Thomas Walker, a high-ranking colonial public servant, and his wife Anna Elizabeth, the daughter of merchant and landowner John Blaxland.
1 portrait in the collection


Christopher Chapman reveals the intersection of iconoclastic Japanese figures Yukio Mishima and Tamotsu Yato.

Dr Sarah Engledow examines a number of figures in the collection of the National Portrait Gallery who were pioneers or substantial supporters of the seminal Australian environmental campaigns of the early 1970s and 1980s.

Joanna Gilmour describes how colonial portraitists found the perfect market among social status seeking Sydneysiders.

Dempsey’s People curator David Hansen chronicles a research tale replete with serendipity, adventure and Tasmanian tigers.