The National Portrait Gallery acquired the self-portrait by Grace Cossington Smith in 2003.
Close contemporaries, Thea Proctor, Margaret Preston and Grace Cossington Smith were frequently sources of inspiration and irritation to each other.
Grace Carroll contemplates the curious case of Christian Waller.
Grace Carroll discusses the portrait of the late-eighteenth century gentleman pickpocket George Barrington.
Grace Carroll on the gendered world of the Wentworths.
Eric Smith describes the agony and finally the ecstasy of winning the 1982 Archibald Prize with the portrait of Peter Sculthorpe.
Jessica Smith looks at the 'fetching' portrait of Tasmania's first Anglican Bishop, Francis Russell Nixon by George Richmond
The name of Florence Broadhurst, one of Australia’s most significant wallpaper and textile designers, is now firmly cemented in the canon of Australian art and design.
Michael Desmond discusses Fred Williams' portraits of friends, artist Clifton Pugh, David Aspden and writer Stephen Murray-Smith, and the stylistic connections between his portraits and landscapes.
Sarah Hill introduces the portrait busts of Sir Charles Kingsford Smith and Captain Charles Ulm by Enid Fleming.
This issue of Portrait Magazine features Grace Cossington Smith, the Fairfax portrait gift and Lewis Morley's photographs.
Penelope Grist finds philanthropy and fashion underpin the story of Susan Wakil AO.
Former NPG Director, Andrew Sayers describes the 1922 Self-portrait with Gladioli by George Lambert.
Jean Appleton’s 1965 self portrait makes a fine addition to the National Portrait Gallery’s collection writes Joanna Gilmour.
A newly acquired work by Stella Bowen adds to the National Portrait Gallery's growing collection of important Australian self-portraits.
Dr Sarah Engledow traces the significant links between Antonio Dattilo-Rubbo and Evelyn Chapman through their portraits.
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.
Tamsin Hong recounts the tale of Marion Smith, the only known Australian Indigenous servicewoman of World War One.
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.
Sarah Engledow previews the beguiling summer exhibition, Idle hours.
Christopher Chapman highlights the inaugural hang of the new National Portrait Gallery building which opened in December 2008.
The exhibition Flash: Australian Athletes in Focus offers various interpretations of sporting men and women by five Australian photographers.
The story behind George Lambert's Self-portrait with Gladioli.
Peter Brew-Bevan discusses two experiences where his plans for his portraits produced surprising results.
Harold Cazneaux's portraits of influential Sydneysiders included Margaret Preston and Ethel Turner, both important figures in the development of ideas about Australian identity and culture.
Christopher Chapman delights in the intimacy of Robert Mapplethorpe's photography
Gael Newton delves into the life and art of renowned Australian photographer, Max Dupain.
Gideon Haigh discusses portraits of Australian cricketers from the early 20th century
Sir William Dargie, painter and eight times winner of the Archibald Prize for portraiture, died in Melbourne on July 26, 2003, aged 91.
Michael Kimmelman, Chief Art Critic of The New York Times and author of Portraits: Talking with Artists at the Met, the Modern, the Louvre and Elsewhere, presented the National Portrait Gallery Third Anniversary Lecture on 2 March 2002. He was generously brought to Australia by the Gordon Darling Foundation and Qantas.
Robin Sellick captured a rare moment of quietude from the late conservation star Steve Irwin.
Sarah Engledow on Messrs Dobell and MacMahon and the art of friendship.
This article examines the portraits gifted to the National Portrait Gallery by Fairfax Holdings in 2003.
Sir William Dobell painted the portraits of Sir Charles Lloyd Jones and Sir Hudson Fysh, who did much to promote the image of Australia in this country and abroad.
Joanna Gilmour examines the prolific output of Charles Balthazar Julien Févret de Saint-Mémin, and discovers the risk of taking a portrait at face value.
Diana O’Neil on Noel Counihan’s vivid 1971 portrait of Alan Marshall.
Dr Sarah Engledow delves into the life of union leader Pat Mackie who is depicted in a portrait by Nancy Borlase AM.
Joanna Gilmour explores the life of colonial women Lady Ellen Stirling, Eliza Darling, Lady Eliza Arthur, Elizabeth Macquarie and Lady Jane Franklin.
A National Portrait Gallery, London exhibition redefines portraiture, shifting the focus towards a new perspective on Pop Art.
Dr Sarah Engledow tells the story of The Queen’s Diamond Jubilee portrait by Australian artist Ralph Heimans.
Joanna Gilmour explores the life and times of one of Melbourne's early socialites, Jessie Eyre Williams.
Angus Trumble treats the gallery’s collection with a dab hand.
Joanna Gilmour explores the extraordinary life of Australian female aviator Nancy Bird Walton AO OBE
Drawn from the Gallery's collection, the exhibition Face the Music explores the remarkable talents and achievements of Australian musicians, composers, conductors and celebrities associated with the music industry.
Magda Keaney talks with Montalbetti+Campbell about their photographic portrait of Australian astronaut Andy Thomas.
The oil portrait of Sir Frank Packer KBE by Judy Cassab was gifted to the National Portrait Gallery in 2006.
Christopher Chapman considers photographer Rozalind Drummond's portrait of author Nam Le.
Peter Jeffrey trips the hound nostalgic.
The Portrait Gallery's paintings of two poets, Les Murray and Peter Porter, demonstrate two very different artists' responses to the challenge of representing more than usually sensitive and imaginative men.
Leslie Moran investigates the portraits of judges in the National Portrait Gallery's collection.
Johanna McMahon revels in history and mystery in pursuit of a suite of unknown portrait subjects.
Andrew Sayers outlines the highlights of the National Portrait Gallery's display of portrait sculpture.
Michael Desmond reveals the origins of composite portraits and their evolution in the pursuit of the ideal.
Christopher Chapman reveals the intersection of iconoclastic Japanese figures Yukio Mishima and Tamotsu Yato.
Joanna Gilmour on Tom Durkin playing with Melbourne's manhood.
Joanna Gilmour reveals love’s more intense manifestations in the tale of Lord Kenelm and Venetia Digby.
Susi Muddiman delights in Michael Zavros’ stunning portrait of the honourable Dame Quentin Bryce AD CVO.
Bess Norriss Tait created miniature watercolour portraits full of character and life.
Sarah Engledow is seduced by the portraits and the connections between the artists and their subjects in the exhibition Impressions: Painting light and life.
Ashleigh Wadman rediscovers the Australian characters represented with a kindly touch by the British portrait artist Leslie Ward for the society magazine Vanity Fair.
Emanuel Solomon gave shelter to the Sisters of St Joseph upon the excommunication of St Mary MacKillop.
Charles Haddon Chambers the Australian-born playboy playwright settled permanently in London in 1880 but never lost his Australian stance when satirising the English.
'Artist and actors, advancing spasmodically, find their rhythm together' writes Sarah Engledow.
The tragic tale of Tom Wills, the ‘inventor’ of Australian Rules Football.
Marian Anderson’s glorious voice thrust her into stardom, and a more reluctant role as American civil rights pioneer.
The London-born son of an American painter, Augustus Earle ended up in Australia by accident in January 1825.
Scott Redford discusses his dynamic portrait commission of motorcycling champion and 2008 Young Australian of the Year Casey Stoner.
Joanna Gilmour presents John Kay’s portraits of a more infamous side of Edinburgh.
Aviation carried women’s roles in society to greater heights – fashion followed suit.
Chris O'Doherty, also known as Reg Mombassa, is best-known for his Mambo imagery but he also paints a lot of self portraits.
Andrew Sayers discusses the real cost of George Lambert's Self portrait with gladioli 1922.
Sarah Engledow picks some favourites from a decade of the National Photographic Portrait Prize.
Pamela Gerrish Nunn explores New Zealand’s premium award for portraiture.
Henry Mundy's portraits flesh out notions of propriety and good taste in a convict colony.
Whether the result of misadventure or misdemeanour, many accomplished artists were transported to Australia where they ultimately left a positive mark on the history of art in this country.
Jerrold Nathan's portrait of Jessie Street shows the elegant side of a many-faceted lady.
Charting a path from cockatiel to finch, Annette Twyman explores her family portraits and stories.
Michael Wardell samples the fare in the University of Queensland National Self-portrait Prize.
Joanna Gilmour describes how colonial portraitists found the perfect market among social status seeking Sydneysiders.
Joanna Gilmour discovers that the beards of the ill-fated explorers Burke and Wills were as epic as their expedition to traverse Australia from south to north.
Christopher Chapman absorbs the gentle touch of Don Bachardy’s portraiture.
Athol Shmith’s photographs contributed to the emergence of a new vision of Australian womanhood.
Stephen Valambras Graham traverses the intriguing socio-political terrain behind two iconic First Nations portraits of the 1850s.
The complex connections between four creative Australians; Patrick White, Sidney Nolan, Robert Helpmann and Peter Sculthorpe.
Aircraft designer, pilot and entrepreneur, Sir Lawrence Wackett rejoins friends and colleagues on the walls of the National Portrait Gallery.
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.
A toast to the acquisition of an unconventional new portrait of former Prime Minister, Stanley Melbourne Bruce.
Long after the portraitist became indifferent to her, and died, a beguiling portrait hung over its subject.
Judith Pugh reflects on Clifton Pugh's approach to portrait making.
Dr. Sarah Engledow discovers the amazing life of Ms. Hilda Spong, little remembered star of the stage, who was captured in a portrait by Tom Roberts.
Sarah Engledow casts a judicious eye over portraits in the Victorian Bar’s Peter O’Callaghan QC Portrait Gallery.
The Rajah Quilt’s narrative promptings are as intriguing as the textile is intricate.
One half of the team that was Eltham Films left scarcely a trace in the written historical record, but survives in a vivid portrait.
