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.
Over the years the young Nicholas Harding got his hands on various mice and guinea pigs, but they served mainly to illustrate the concept of mortality.
Anne Sanders celebrates the cinematic union of two pioneering australian women.
Joanna Gilmour discusses the role of the carte de visite in portraiture’s democratisation, and its harnessing by Victoria, the world’s first media monarch.
Sarah Engledow ponders the divergent legacies of Messrs Kendall and Lawson.
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.
Dr Sarah Engledow puts four gifts to the National Portrait Gallery’s Collection in context.
Dr Sarah Engledow explores the portraits of writers held in the National Portrait Gallery's collection.
Sarah Engledow casts a judicious eye over portraits in the Victorian Bar’s Peter O’Callaghan QC Portrait Gallery.
