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Portraits of philanthropists in the collection honour their contributions to Australia and acknowledge their support of the National Portrait Gallery.
Olivier Krischer in conversation with photographer Wei Leng Tay.
Former NPG Director, Andrew Sayers celebrates the support given to the Gallery by Gordon and Marilyn Darling.
Lauren Dalla examines the life of Basil Bressler, the art patron responsible for one of the NPG's most important bequests.
Robert Oatley talks about the repatriation of the John Webber portrait of Captain James Cook.
The story behind the commissioning of the tapesty portrait of Dame Elisabeth Murdoch.
A new painting by Jiawei Shen captures the vision and resolve of the Gallery's founder, L. Gordon Darling AC CMG.
In February 2003 the National Portrait Gallery Circle of Friends brought Sir Robert Strong to Australia to present a series of lectures entitled The Artists & The Banquet- A History of Dining, which focused on the links between gardens and table decoration from the Renaissance to the Victorian Era.
The life and achievements of Sir Edward Holden, who is represented in the portrait collection by a bust created by Leslie Bowles.
Brook Andrew, Marcia Langton and Anthony Mundine.
The exhibition Portraits for Posterity celebrates gifts to the Gallery, of purchases made with donated funds, and testifies to the generosity and community spirit of Australians.
A photographic portrait by Kerry Dundas captures the contemplative mind of visionary painter Godfrey Miller.
The photographs from Matthew Sleeth's tour of duty series look more like advertisements than images of war.
Artist Tessa Jones recalls creating her portrait of Daddy Cool and Mondo Rock singer and music producer, Ross Wilson.
Sarah Engledow plays wingman to Leila Jeffreys.
The oil portrait of Sir Frank Packer KBE by Judy Cassab was gifted to the National Portrait Gallery in 2006.
Exploring the photographs of Martin Schoeller, Michael Desmond delves into the uneasy pact that exists between celebrity and the camera.
Ah Xian's porcelain portrait of paediatrician Dr. John Yu reflects Yu's heritage and interests.
Michael Desmond reveals the origins of composite portraits and their evolution in the pursuit of the ideal.
The National Portrait Gallery's acquisition of the portrait of Edward John Eyre by pioneering English photographer Julia Margaret Cameron.
Curator Emma Kindred shares a glimpse of the creative process behind her selection of works for the National Portrait Gallery’s salon hang.
Joanna Gilmour explores the life of Chinese-Australian businessman and philanthropist Quong Tart.
The life and art of Australian artist Jenny Sages is on display in the exhibition Paths to Portraiture.
The exhibition Australians in Hollywood celebrated the achievements of Australians in the highly competitive American film industry.
Claire Roberts interviews Swiss art collector Uli Sigg.
Stephen Zagala discusses Richard Avedon’s work from an Australian perspective.
This edited version of a speech by Andrew Sayers examines some of the antecedents of the National Portrait Gallery and set out the ideas behind the modern Gallery and its collection.
Preserving stories, subverting power and posing nude: Benjamin Law explores the potency and persuasiveness of portraiture.
Penelope Grist speaks to Robert McFarlane about shooting for the stars.
Glynis Jones on the Powerhouse’s retrospective of one of Australia’s foremost fashion reportage and social photographers.
To accompany the exhibition Cecil Beaton: Portraits, held at the NPG in 2005, this article is drawn from Hugo Vickers's authorised biography, Cecil Beaton (1985).
Dr Sarah Engledow puts four gifts to the National Portrait Gallery’s Collection in context.
The death of a gentlewoman is shrouded in mystery, a well-liked governor finds love after sorrow, and two upright men become entangled in the historical record.
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.
Penelope Grist reminisces about the halcyon days of a print icon, before the infusion of the internet’s shades of grey.
Angus Trumble reflects on the force of nature that was Helena Rubinstein.
Sarah Engledow casts a judicious eye over portraits in the Victorian Bar’s Peter O’Callaghan QC Portrait Gallery.
Joanna Gilmour reflects on merging collections and challenging traditional assumptions around portraiture in WHO ARE YOU.