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The Hinders: doyens of Australian modernism

Progressive partnership

Supporters

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.

NPPP 2009 exhibition essay

Dr Christopher Chapman, National Photographic Portrait Prize judge and curator, introduces the 2009 Prize.

Brenton McGeachie

An interview with the photographer.

Myles Nelson

It was definitely a candid encounter as was the expression on the face. It was constructed insofar as the image was deliberately taken from a distance so as to minimize intrusion and to magnify the effect of the image.

Gail Kelly, 2018

Commissioned with funds provided by Westpac Group and Optus 2018

The 1850s to the 1880s

The restrained and cultivated facial hair fashions evident through the first decades of the 1800s were on the wane by the middle of the century, when hirsute faces became mainstream.

Portrait Donors

Some prime ministers

Sarah Engledow explores the history of the prime ministers and artists featured in the exhibition.

History

How the National Portrait Gallery and its unique collection came to be

The art of Inner Worlds

Dr Christopher Chapman NPG Curator of Inner Worlds explains the development of an exhibition that spans from Surrealism to contemporary art.

Nicholas Harding

Over the years the young Nicholas Harding got his hands on various mice and guinea pigs, but they served mainly to illustrate the concept of mortality. 

Uncommon Australians

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

Inner Worlds and psychoanalysis

Inner Worlds evokes a broad view of psychology as a discipline. However, the specific interests of the practitioners whose portraits are included in the exhibition incorporate specialist areas including psychoanalysis.

Faces of war

Lesley Harding, Curator, Heide Museum of Modern Art, Melbourne explores Albert Tucker’s experience of World War II, his interests in the intersection between psychology and creativity, and their influence on his portrait making.