Henry Mundy's portraits flesh out notions of propriety and good taste in a convict colony.
Joanna Gilmour explores the life of colonial women Lady Ellen Stirling, Eliza Darling, Lady Eliza Arthur, Elizabeth Macquarie and Lady Jane Franklin.
Jane Raffan asks do clothes make the portrait, and can the same work with a new title fetch a better price?
Jane Raffan examines unique styles of Indigenous portraiture that challenge traditional Western concepts of the artform.
Australian character on the market by Jane Raffan.
Jane Raffan investigates auction sales of self portraits nationally and internationally.
Jane Raffan feasts on modernity’s entrée in the Belle Époque theatre of the demimonde.
In the exhibition William Kentridge: Drawn from Africa at the National Gallery of Australia, the artist marries Gogol's Tsarist Russia, with that of Stalin and the damaging history of his homeland, South Africa.
Politics and personae in the portraiture of TextaQueen by Jane Raffan.
National Gallery of Australia curator Jane Kinsman discusses the portraiture of Henri Matisse.
Anthony Browell reminisces about meeting Rose Lindsay, the wife of Australian artist Norman Lindsay.
As a convict Thomas Bock was required to sketch executed murders for science; as a free man, fashionable society portraits.
The discovery of Dempsey's People, Australian rugby greats, Athol Shmith's progressive pictures, and powerful Indigenous portraits.
Michael Desmond explores the complex portrait of Dr Bob Brown by Harold 'The Kangaroo' Thornton.
Olegas Truchanas and Peter Dombrovskis, photographers and conservationists, shared a love of photography and exploring wilderness areas of Tasmania.
The Rajah Quilt’s narrative promptings are as intriguing as the textile is intricate.
Joanna Gilmour explores the life of a colonial portrait artist, writer and rogue Thomas Griffiths Wainewright.
Dr Chistopher Chapman discusses the portrait of Australian author Christos Tsiolkas taken by John Tsiavis.
Charting a path from cockatiel to finch, Annette Twyman explores her family portraits and stories.
Sarah Engledow reflects on the shared life and writing of Dorothy Porter and Andrea Goldsmith.
Dr Sarah Engledow discusses Quentin Jones's photograph of Australian author Tim Winton.
Djon Mundine OAM brings poignant memory and context to Martin van der Wal’s 1986 portrait photographs of storied Aboriginal artists.
Traversing paint and pixels, Inga Walton examines portraits of select women in Tudors to Windsors: British Royal Portraits.
Roger Neill delves into the life of a lesser-known Australian diva, Frances Alda.
Portraits of philanthropists in the collection honour their contributions to Australia and acknowledge their support of the National Portrait Gallery.
Michelle Fracaro describes Lionel Lindsay's woodcut The Jester (self-portrait).
Joanna Gilmour profiles the life and times of the shutter sisters May and Mina Moore.
Michael Desmond reveals the origins of composite portraits and their evolution in the pursuit of the ideal.
English artist Benjamin Duterrau took up the cause of the Indigenous peoples of Tasmania with his detailed and sympathetic renderings.
Lee Tulloch remembers her great friend NIDA-trained actor turned photographer Stuart Campbell.
Australia's former Cultural Attache to the USA, Ron Ramsey, describes the mood at the opening week of the revitalised American National Portrait Gallery.
Michael Desmond examines the career of the eighteenth-century suspected poisoner and portrait artist Thomas Griffiths Wainewright.
Bess Norriss Tait created miniature watercolour portraits full of character and life.
Scott Redford discusses his dynamic portrait commission of motorcycling champion and 2008 Young Australian of the Year Casey Stoner.
Sarah Engledow casts a judicious eye over portraits in the Victorian Bar’s Peter O’Callaghan QC Portrait Gallery.
Christopher Chapman highlights the inaugural hang of the new National Portrait Gallery building which opened in December 2008.
Penelope Grist explores the United Nations stories in the Gallery’s collection.
One half of the team that was Eltham Films left scarcely a trace in the written historical record, but survives in a vivid portrait.
Alison Weir explores the National Portrait Gallery, London and the BP Portrait Award to find what makes a good painted portrait - past and present.
Sandra Bruce gazes on love and the portrait through Australian Love Stories’ multi-faceted prism.
Christopher Chapman absorbs the gentle touch of Don Bachardy’s portraiture.
Jean Appleton’s 1965 self portrait makes a fine addition to the National Portrait Gallery’s collection writes Joanna Gilmour.
Athol Shmith’s photographs contributed to the emergence of a new vision of Australian womanhood.
Sarah Engledow describes the fall-out once Brett Whiteley stuck Patrick White’s list of his loves and hates onto his great portrait of the writer.
An exhibition of humanness in ten themes by Penelope Grist.
Stephen Valambras Graham traverses the intriguing socio-political terrain behind two iconic First Nations portraits of the 1850s.
Joanna Gilmour looks beyond the ivory face of select portrait miniatures to reveal their sitters’ true grit.
John Singer Sargent: a painter at the vanguard of contemporary movements in music, literature and theatre.
Penelope Grist reminisces about the halcyon days of a print icon, before the infusion of the internet’s shades of grey.
