The National Portrait Gallery acquired a beguiling silhouette group portrait by Samuel Metford, an English artist who spent periods of his working life in America.
Family affections are preserved in a fine selection of intimate portraits.
George Selth Coppin (1819-1906) comedian, impresario and entrepreneur, was a driving force of the early Australian theatre.
Sandra Bruce gazes on love and the portrait through Australian Love Stories’ multi-faceted prism.
The art of Australia’s colonial women painters affords us an invaluable, alternative perspective on the nascent nation-building project.
Joanna Gilmour on Tom Durkin playing with Melbourne's manhood.
John Elderfield lauds the portraiture of Paul Cézanne, the artist described by both Matisse and Picasso as ‘the father of us all’.
Michael Riley’s early portraits by Amanda Rowell.
Joanna Gilmour describes how colonial portraitists found the perfect market among social status seeking Sydneysiders.
Joanna Gilmour reveals love’s more intense manifestations in the tale of Lord Kenelm and Venetia Digby.
2019 National Photographic Portrait Prize judge Anne O’Hehir looks beneath the surface of this year’s entries.
The death of a gentlewoman is shrouded in mystery, a well-liked governor finds love after sorrow, and two upright men become entangled in the historical record.
Angus Trumble salutes the glorious portraiture of Sir Thomas Lawrence.
At just 7.8 x 6.2 cm, the daguerreotype of Thomas Sutcliffe Mort and his wife Theresa is one of the smallest works in the collection of the National Portrait Gallery.
