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Here’s looking at you, kid

Is he thinking of me?

2015-17 Acquisition Fund

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.

2021 Annual Appeal

In 2021 the Annual Appeal was focussed on Peter Brew-Bevan's portraits of athletes Turia Pitt, Leisel Jones OAM and Ellie Cole OAM.

2013-14 Acquisition Fund

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.

The Waxworks

Waxworks were among the various types of entertainment venue to emerge in Australian cities in the mid-nineteenth century. 

2014-15 Acquisition Fund

Kristin Headlam's portrait of Chris Wallace-Crabbe was acquired with the support of the Circle of Friends in 2014.

Donors

Annual Appeal

Supporters

2023 Annual Appeal

In 2023 the Annual Appeal was focussed on a work by one of Australia's best loved and most successful portrait painters, Judy Cassab AO CBE, depicting model, entrepreneur and deportment icon, June Dally-Watkins OAM.

2020 Annual Appeal

In 2020 the Annual Appeal was focussed on Sally Robinson's remarkable portrait of author Tim Winton.

Anna Culliton

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. 

Jude Rae

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.

Rick Amor: 21 Portraits

Sarah Engledow chronicles Rick Amor's work and accomplishments in this extensive essay in conjunction with the exhibition Rick Amor: 21 Portraits.

Uncommon Australians

Sarah Engledow writes about Gordon and Marilyn Darling and their support for the National Portrait Gallery throughout its evolution.

Lucy Culliton

Most well-regarded pictures of chickens show them dead. A reliable way to tell if a chicken in a painting is dead is to check if it’s hanging upside down, because unlike, say, cockatoos, chickens don’t practise inversion for enjoyment in life.