John Zubrzycki meets Australian paint pioneer Jim Cobb.
Traudi Allen discovers sensitivity, humour and fine draughtsmanship in the portraiture of John Perceval.
Christopher Chapman looks at influences and insight in the formative years of Arthur Boyd.
One half of the team that was Eltham Films left scarcely a trace in the written historical record, but survives in a vivid portrait.
Dr. Sarah Engledow explores the context surrounding Charles Blackman's portrait of Judith Wright, Jack McKinney and their daughter Meredith.
This issue of Portrait Magazine features articles about the NPG's Barry Humphries exhibition and Polly Borland's portrait of The Queen.
Christopher Chapman highlights the inaugural hang of the new National Portrait Gallery building which opened in December 2008.
A new painting by Jiawei Shen captures the vision and resolve of the Gallery's founder, L. Gordon Darling AC CMG.
The exhibition Portraits for Posterity celebrates gifts to the Gallery, of purchases made with donated funds, and testifies to the generosity and community spirit of Australians.
Judith Pugh reflects on Clifton Pugh's approach to portrait making.
The world of Thea Proctor was the National Portrait Gallery's second exhibition to follow the life of a single person, following Rarely Everage: The lives of Barry Humphries.
The Kylie exhibition celebrated the significant achievements of one of Australia's most internationally recognisable faces and gave the general public a rare glimpse into her glamorous life.
Former NPG Director, Andrew Sayers celebrates the support given to the Gallery by Gordon and Marilyn Darling.
Magda Keaney speaks with Lewis Morley about his photographic career and the major retrospective of his work on display at the NPG.
The biographical exhibition of Barry Humphries was the first display of its kind at the National Portrait Gallery.
