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.
The complex connections between four creative Australians; Patrick White, Sidney Nolan, Robert Helpmann and Peter Sculthorpe.
Basil grew into a speckled beauty – a long-legged leaper and an exceptionally vocal dog, with a great register of sounds, ascending in shock value from a whimper to a growl to a bark to a yelp that’s a violation of the ears.
Aircraft designer, pilot and entrepreneur, Sir Lawrence Wackett rejoins friends and colleagues on the walls of the National Portrait Gallery.
Works by Arthur Boyd and Sidney Nolan bring the desert, the misty seashore and the hot Monaro plains to exhibition Open Air: Portraits in the landscape.
A toast to the acquisition of an unconventional new portrait of former Prime Minister, Stanley Melbourne Bruce.
Jane Raffan feasts on modernity’s entrée in the Belle Époque theatre of the demimonde.
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.
