Commissioned with funds provided by Dr Helen Nugent AO 2018
Fiona Stanley, Fiona Wood, Fred Hollows, Patrick McGorry and John Yu
Talented wife for a talented husband
Jude Rae’s high reputation rests on her austere, cerebral still lifes of gas canisters, electric jugs and jars, which she groups and rearranges for paintings that catch their difficult curves and reflections. Her self-portrait’s likewise thoughtfully composed.
From 2015 to 2017 the Acquisition Fund was focussed on Reg Richardson AM by Mitch Cairns, a finalist in the Archibald Prize 2014, and a great example of minimalist portraiture.
This 1910 portrait of Elizabeth Sarah (Lillie) Roberts by Tom Roberts was brought into the Gallery's collection with the assistance of the Acquisition Fund in 2013.
Waxworks were among the various types of entertainment venue to emerge in Australian cities in the mid-nineteenth century.
Kristin Headlam's portrait of Chris Wallace-Crabbe was acquired with the support of the Circle of Friends in 2014.
The National Portrait Gallery has unveiled twenty new portrait commissions of Australian leaders and individualists as part of its twentieth birthday celebrations in a new exhibition, 20/20: Celebrating twenty years with twenty new portrait commissions.
Sarah Engledow writes about Gordon and Marilyn Darling and their support for the National Portrait Gallery throughout its evolution.
Anna Culliton never had a colouring-in book when she was little. Her parents –Tony, a filmmaker, and Stephanie, a painter – wouldn’t let her have one. Instead, they insisted on her drawing her own pictures to colour-in.
Sarah Engledow chronicles Rick Amor's work and accomplishments in this extensive essay in conjunction with the exhibition Rick Amor: 21 Portraits.
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