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Fortunately, perhaps, there is no instruction manual for newly appointed art museum directors.
Desperately seeking Woolner medallions
To celebrate his family bicentenary, Malcolm Robertson looks at the portraiture legacy left by his ancestors.
Where do we draw a line between the personal and the historical? Although she died in Melbourne in 1975, when I was not quite eleven years old, I have the vividest memories of my maternal grandmother Helen Borthwick.
In their own words lead researcher Louise Maher on the novel project that lets the Gallery’s portraits speak for themselves.
Books seldom make me angry but this one did. At first, I was powerfully struck by the uncanny parallels that existed between the Mellons of Pittsburgh and the Thyssens of the Ruhr through the same period, essentially the last quarter of the nineteenth century.
Dr Helen Nugent AO, Chairman, National Portrait Gallery at the opening of 20/20: Celebrating twenty years with twenty new portrait commissions.
This is my last Trumbology before, in a little more than a week from now, I pass to my successor Karen Quinlan the precious baton of the Directorship of the National Portrait Gallery.
Some years ago my colleague Andrea Wolk Rager and I spent several days in the darkened basement of a Rothschild Bank, inspecting every one of the nearly 700 autochromes created immediately before World War I by the youthful Lionel de Rothschild.