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Rebecca Harkins-Cross considers Carol Jerrems’ portraiture against the backdrop of social change in the 1970s.
Emma Kindred examines fashion as a representation of self and social ritual in 19th-century portraiture.
Archie 100 curator (and detective) Natalie Wilson’s nationwide search for Archibald portraits unearthed the fascinating stories behind some long-lost treasures.
Joanna Gilmour profiles Violet Teague, whose sophisticated works hid her originality and non-conformity in plain sight.
Charting a path from cockatiel to finch, Annette Twyman explores her family portraits and stories.
Traversing paint and pixels, Inga Walton examines portraits of select women in Tudors to Windsors: British Royal Portraits.
Sarah Engledow lauds the very civil service of Dame Helen Blaxland.
Alexandra Roginski reveals a forceful feminist figure in the colonial period’s slippery science, phrenology.
The Rajah Quilt’s narrative promptings are as intriguing as the textile is intricate.
Sarah Engledow on a foundational gallery figure who was quick on the draw.
Penelope Grist finds inspiration in pioneering New Zealand artist, Frances Hodgkins.
The art of Australia’s colonial women painters affords us an invaluable, alternative perspective on the nascent nation-building project.
Angus Trumble reveals the complex technical mastery behind a striking recent acquisition, Henry Bone’s enamel portrait of William Manning.
Jo Gilmour uncovers endearing authenticity in the art of a twice-transported Tasmanian.
Christopher Chapman takes a trip through the doors of perception, arriving at the junction of surrealism and psychoanalysis.
Diana O’Neil samples the tartan treats on offer in the Scottish National Portrait Gallery.