The acquisition of the ivory miniatures of Mortimer and Mrs Lewis.
Michael Desmond explores what makes a portrait subject significant.
Magda Keaney speaks with Lewis Morley about his photographic career and the major retrospective of his work on display at the NPG.
This issue of Portrait Magazine features Grace Cossington Smith, the Fairfax portrait gift and Lewis Morley's photographs.
It is not well known that the person who composed the famous theme music for the BBC's Doctor Who series was Australian Ron Grainer.
Joanna Gilmour explores the enticing urban shadows cast by artists Martin Lewis and Edward Hopper.
Blue Mountain, Owner, Trainer, Jockey, James Scobie 1887 by Frederick Woodhouse Snr. is a portrait of James Scobie, well known jockey and eminent horse trainer.
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.
Dr Sarah Engledow explores the lives of Sir George Grey and his wife Eliza, the subjects of a pair of wax medallions in the National Portrait Gallery's collection.
The story behind two colonial portraits; a lithograph of captain and convict John Knatchbull and newspaper illustration of Robert Lowe, Viscount Sherbrooke.
The Australian public was invited in 2008 to vote for their favourite Australian. After the votes were tallied an exhibition of the top-ten Popular Australians and the top-twenty unsung heroes was displayed at the National Portrait Gallery.
Christopher Chapman highlights the inaugural hang of the new National Portrait Gallery building which opened in December 2008.
A reflection on the National Portrait Gallery's first four years.
Sam Bowker examines Paula Dawson's Mirror, Mirror - a holographic portrait of Graeme Murphy.
John Zubrzycki lauds the characters of the Australian escapology trade.
Aircraft designer, pilot and entrepreneur, Sir Lawrence Wackett rejoins friends and colleagues on the walls of the National Portrait Gallery.
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 explores the symbolism in eX de Medici's portrait of Midnight Oil.
Sarah Engledow arrives at the junction of fate and hope in Sarah Ball’s poignant Immigrants series.
Bon Scott and Angus Young photographed by Rennie Ellis are part of a display celebrating summer and images of the shirtless male.
The biographical exhibition of Barry Humphries was the first display of its kind at the National Portrait Gallery.
In March 2003 Magda Keaney travelled to London to join the photography section of the Victoria & Albert Museum for three months.
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.
The exhibition Depth of Field displays a selection of portrait photographs that reflect the strength and diversity of Australian achievement.
Joanna Gilmour revels in accidental artist Charles Rodius’ nineteenth century renderings of Indigenous peoples.
Barry York charts the course from childhood request to autographed celebrity portrait anthology.
The exhibition Aussies all features the ecclectic portrait photography of Rennie Ellis which captures Australian life during the 70s and 80s.
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.
In his speech launching the new National Portrait Gallery building on 3 December 2008, then Prime Minister Kevin Rudd set the Gallery in a national and historical context.
Inga Walton traces the poignant path of photographer Polixeni Papapetrou, revealed in the NGV’s summer retrospective.
Dr. Sarah Engledow discusses a collection of drawings and prints by the Victorian artist Rick Amor acquired in 2005.
Dr Sarah Engledow examines a number of figures in the collection of the National Portrait Gallery who were pioneers or substantial supporters of the seminal Australian environmental campaigns of the early 1970s and 1980s.
Joanna Gilmour describes how colonial portraitists found the perfect market among social status seeking Sydneysiders.
Sarah Engledow casts a judicious eye over portraits in the Victorian Bar’s Peter O’Callaghan QC Portrait Gallery.
