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Inspiration + Realisation: John Singer Sargent

Katherine Russell examines the art of Australian artist Paul Newton, referencing the portraiture of John Singer Sargent.

Figurative foundation

Joanna Gilmour explores the life and art of the Australian artist Janet Dawson.

A rogue's calling card

Joanna Gilmour explores the stories behind the ninteenth-century carte de visites of bushrangers Frank Gardiner and Fred Lowry.

Aussies all

The exhibition Aussies all features the ecclectic portrait photography of Rennie Ellis which captures Australian life during the 70s and 80s.

The world of Thea Proctor

The world of Thea Proctor was the National Portrait Gallery's second exhibition to follow the life of a single person, following Rarely Everage: The lives of Barry Humphries.

The real Thea

Long after the portraitist became indifferent to her, and died, a beguiling portrait hung over its subject.

Empire records

Celebrates the centenary of the first national art collection, the Historic Memorials Collection, housed at Australia's Parliament House.

Lovers of light

Dr Sarah Engledow traces the significant links between Antonio Dattilo-Rubbo and Evelyn Chapman through their portraits.

Four from the 30s

Australia's tradition of sculpted portraits stretches back to the early decades of the nineteenth century and continues to sustain a group of dedicated sculptors.

Pretty in peach

Nocturnal animals

Joanna Gilmour explores the enticing urban shadows cast by artists Martin Lewis and Edward Hopper.

Money and swat

Andrew Sayers discusses the real cost of George Lambert's Self portrait with gladioli 1922.

The Vanity model

Vanity Fair Editor David Friend describes how the rebirth of the magazine sated our desire for access into the lives of celebrities and set the standard for the new era of portrait photography.

Give me five

National Portrait Gallery director Karen Quinlan AM nominates her quintet of favourites from the collection, with early twentieth-century ‘selfies’ filling the roster.

Kiwi magpie

Penelope Grist finds inspiration in pioneering New Zealand artist, Frances Hodgkins.

In good company

Jean Appleton’s 1965 self portrait makes a fine addition to the National Portrait Gallery’s collection writes Joanna Gilmour.