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The National Portrait Gallery acknowledges the Traditional Custodians of Country throughout Australia and recognises the continuing connection to lands, waters and communities. We pay our respect to Aboriginal and Torres Strait Islander cultures and to Elders both past and present.

Aboriginal and Torres Strait Islander viewers are warned that this website contains images of deceased persons.

The Huxleys, 2018 Sally Ross

Happiness is... extreme and unapologetic


A glamorous, glorious visual assault

Thomas Sutcliffe Mort and his wife Theresa

A head for business and a heart for love


For love, not money

Thomas and John Clarke, bushrangers, photographed in Braidwood gaol

The last bushrangers

It's Complicated

Brothers in harms

Queenie McKenzie Nakara

She saved his life. He showed her painting.

Nearest & Dearest

Leaders, painters, friends

Guthugga Pipeline, Christmas Show, upstairs, The (old) Griffin Centre, Civic, 22 December 1979. Crowd, L-R : Ben Donaldson, Anne Redmond, Nick Vollis, Esa  Makela, Megan Woodrow (Mohawk), Andy Hall (scarf) 'pling

Capital Cool

Stop in all the byways, playin' rock 'n roll
General content

Outsiders tend to give Canberra a bad rap: sterile, plagued by politicians, a comatose capital for professionals and academics. Nick Cave once said he didn’t like the city because there were too many punks.

Portrait of Mrs Tom Roberts

Who is Lillie Roberts?


Talented wife for a talented husband

Songman, portrait of Kev Carmody


How can we dance when our earth is turning?
General content

Rock’s raw potency made it the ideal medium for fomenting protest. The 1970s, 80s and onwards saw calls for social and environmental justice ring out through song.

Convict love token from J. Waldon, 1832

To coin a (farewell) phrase


A penny for their thoughts

Thomas Archbold, Durham, 1826 by John Dempsey

Street fare

General content

The late Georgian and early Victorian working classes often bought their food in ale-houses, chop-houses and ‘penny pie shops’, or purchased their meals day after day in the streets.

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Corporate Support

We are grateful to our supporters who help us care for, exhibit and study the Gallery's Collection and to offer programs that bring our portraits to life.

Bathing woman, Bridlington, c.1825 by John Dempsey

Allow me to introduce...

General content

These full-length figures in watercolour, gouache and pencil date mostly from the 1820s, and almost all come from the collection of the Tasmanian Museum and Art Gallery, Hobart.

Alab ng puso (Fire in the heart), 2010 by Alfredo Esquillo Jr

Alfredo Esquillo Jr

by Patrick D. Flores
Artist essays

Born in Manila in 1972, Alfredo Esquillo Jr majored in painting at University of Santo Thomas.

Ngalim-Ngalimbooroo Ngagenybe

Presenting… Shirley Purdie’s Ngalim-Ngalimbooroo Ngagenybe

Wednesday 27 May 2020

The National Portrait Gallery this week launches an online exhibition of Shirley Purdie’s remarkable self-portrait Ngalim-Ngalimbooroo Ngagenybe to coincide with Reconciliation Week.

Michelle Simmons

Michelle Simmons, 2018

by Selina Ou
General content

Commissioned with funds provided by the Sid and Fiona Myer Family Foundation 2018

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Portrait Donors

Listed by year
Honour board
Goollabal (Rainbow Serpent), 2018 by Shirley Purdie


General content

The second row of paintings recall stories relating to specific sites, experiences and activities.

Arcadia: Sound of the sea

Exhibition introduction
General content

One night in the spring of 1970 in an old house in Whale Beach, north of Sydney, John Witzig, Albe Falzon and David Elfick put together the first issue of Tracks, playing Neil Young’s album Harvest over and over again as they pasted up galleys of type.

Barry Humphries

Uncommon Australians

The vision of Gordon and Marilyn Darling
General content

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

Life Dancers, 2015 by Elizabeth Looker

NPPP 2016 exhibition essay

General content

Penny Grist, National Photographic Portrait Prize judge and curator, introduces the 2016 Prize.

The Bare story

General content

Curator, Penny Grist, reveals how this exhibition came to be

© National Portrait Gallery 2021
King Edward Terrace, Parkes
Canberra, ACT 2600, Australia

Phone +61 2 6102 7000
Fax +61 2 6102 7001
ABN: 54 74 277 1196

The National Portrait Gallery acknowledges the Traditional Custodians of Country throughout Australia and recognises the continuing connection to lands, waters and communities. We pay our respect to Aboriginal and Torres Strait Islander cultures and to Elders past and present. We respectfully advise that this site includes works by, images of, names of, voices of and references to deceased people.

This website comprises and contains copyrighted materials and works. Copyright in all materials and/or works comprising or contained within this website remains with the National Portrait Gallery and other copyright owners as specified.

The National Portrait Gallery respects the artistic and intellectual property rights of others. The use of images of works of art reproduced on this website and all other content may be restricted under the Australian Copyright Act 1968 (Cth). Requests for a reproduction of a work of art or other content can be made through a Reproduction request. For further information please contact NPG Copyright.

The National Portrait Gallery is an Australian Government Agency