Portraits of philanthropists in the collection honour their contributions to Australia and acknowledge their support of the National Portrait Gallery.
Andrew Sayers explores the self-portraits created by Australian artist Sidney Nolan.
Robyn's parents had two terriers, Wuff and Snuff. In spite of Snuff’s ominous name and a couple of close shaves – once, he jumped out of a moving car, and another time, on a long road trip, he was accidentally left behind at a petrol station – he outlived Wuff.
A collection of thirty-seven caricatures by the artist Joe Greenberg capture the heroes and villians of Australian business in the 1980s.
Sarah Engledow previews the beguiling summer exhibition, Idle hours.
Curator Michael Desmond introduces the exhibition Truth and Likeness, an investigation of the importance of likeness to portraiture.
Angus Trumble reflects on the force of nature that was Helena Rubinstein.
Sarah Engledow is seduced by the portraits and the connections between the artists and their subjects in the exhibition Impressions: Painting light and life.
Aimee Board traces Judy Cassab’s path to the Australian outback, arriving at the junction of inspiration and abstraction.
English artist Benjamin Duterrau took up the cause of the Indigenous peoples of Tasmania with his detailed and sympathetic renderings.
The photographs from Matthew Sleeth's tour of duty series look more like advertisements than images of war.
All that fall: Sacrifice, life and loss in the First World War exhibition co-curators Dr Anne Sanders and Dr Christopher Chapman reflect on the evolution of the Gallery’s Anzac Centenary exhibition.
Penelope Grist spends some quality time with the Portrait Gallery’s summer collection exhibition, Eye to Eye.
Joanna Gilmour describes how colonial portraitists found the perfect market among social status seeking Sydneysiders.
Sarah Engledow lauds the very civil service of Dame Helen Blaxland.
