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Emma Kindred examines fashion as a representation of self and social ritual in 19th-century portraiture.
Joanna Gilmour reflects on 25 years of collecting at the National Portrait Gallery.
Joanna Gilmour reflects on merging collections and challenging traditional assumptions around portraiture in WHO ARE YOU.
Sandra Bruce gazes on love and the portrait through Australian Love Stories’ multi-faceted prism.
Close encounters are the genesis for Graeme Drendel’s enticing portraiture.
Penelope Grist finds inspiration in pioneering New Zealand artist, Frances Hodgkins.
Australian character on the market by Jane Raffan.
Karl James gives short shrift to doubts about the profile of General Sir John Monash.
Sarah Engledow ponders the divergent legacies of Messrs Kendall and Lawson.
One half of the team that was Eltham Films left scarcely a trace in the written historical record, but survives in a vivid portrait.
Jane Raffan asks do clothes make the portrait, and can the same work with a new title fetch a better price?
Sarah Engledow is seduced by the portraits and the connections between the artists and their subjects in the exhibition Impressions: Painting light and life.
Portraits of philanthropists in the collection honour their contributions to Australia and acknowledge their support of the National Portrait Gallery.
Celebrates the centenary of the first national art collection, the Historic Memorials Collection, housed at Australia's Parliament House.
Bess Norriss Tait created miniature watercolour portraits full of character and life.
Andrew Sayers asks whether a portrait can truly be the examination of a life.