Joanna Gilmour explores the 1790 portrait of William Bligh by Robert Dodd.
John Zubrzycki lauds the characters of the Australian escapology trade.
Dr. Sarah Engledow discusses a collection of drawings and prints by the Victorian artist Rick Amor acquired in 2005.
Sarah Engledow is seduced by the portraits and the connections between the artists and their subjects in the exhibition Impressions: Painting light and life.
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.
Traudi Allen discovers sensitivity, humour and fine draughtsmanship in the portraiture of John Perceval.
Sarah Engledow trains her exacting lens on the nine photographs from 20/20.
The London-born son of an American painter, Augustus Earle ended up in Australia by accident in January 1825.
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.
How seven portraits within Bare reveal in a public portrait parts of the body and elements of life usually located in the private sphere.
Joanna Gilmour looks beyond the ivory face of select portrait miniatures to reveal their sitters’ true grit.
Dr. Sarah Engledow discovers the amazing life of Ms. Hilda Spong, little remembered star of the stage, who was captured in a portrait by Tom Roberts.
John Singer Sargent: a painter at the vanguard of contemporary movements in music, literature and theatre.
Sarah Engledow casts a judicious eye over portraits in the Victorian Bar’s Peter O’Callaghan QC Portrait Gallery.
Sarah Engledow bristles at the biographers’ neglect of Kitchener’s antipodean intervention.
