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.
Judith Pugh reflects on Clifton Pugh's approach to portrait making.
Alexandra Roginski gets a feel for phrenology’s fundamentals.
To accompany the exhibition Cecil Beaton: Portraits, held at the NPG in 2005, this article is drawn from Hugo Vickers's authorised biography, Cecil Beaton (1985).
Joanna Gilmour describes some of the stories of the individuals and incidents that define French exploration of Australia and the Pacific.
Joanna Gilmour accounts for Australia’s deliciously ghoulish nineteenth century criminal portraiture.
Athol Shmith’s photographs contributed to the emergence of a new vision of Australian womanhood.
The art of Australia’s colonial women painters affords us an invaluable, alternative perspective on the nascent nation-building project.
Jane Raffan feasts on modernity’s entrée in the Belle Époque theatre of the demimonde.
Traversing paint and pixels, Inga Walton examines portraits of select women in Tudors to Windsors: British Royal Portraits.
Joanna Gilmour looks beyond the ivory face of select portrait miniatures to reveal their sitters’ true grit.
John Singer Sargent: a painter at the vanguard of contemporary movements in music, literature and theatre.
Sarah Engledow ponders the divergent legacies of Messrs Kendall and Lawson.
Shipmates for years, James Cook and Joseph Banks each kept a journal but neither man shed light on their relationship.
Sarah Engledow lauds the very civil service of Dame Helen Blaxland.
