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Robyn Sweaney

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.

Corporate Characters

A collection of thirty-seven caricatures by the artist Joe Greenberg capture the heroes and villians of Australian business in the 1980s.

Lovingly observed

Sarah Engledow previews the beguiling summer exhibition, Idle hours.

Is the truth of portraiture vested exclusively in likeness?

Curator Michael Desmond introduces the exhibition Truth and Likeness, an investigation of the importance of likeness to portraiture.

Study in scarlet

Angus Trumble reflects on the force of nature that was Helena Rubinstein.

Beguiling impressions

Sarah Engledow is seduced by the portraits and the connections between the artists and their subjects in the exhibition Impressions: Painting light and life.

Flesh, figure and rock

Aimee Board traces Judy Cassab’s path to the Australian outback, arriving at the junction of inspiration and abstraction.

Black and white history

English artist Benjamin Duterrau took up the cause of the Indigenous peoples of Tasmania with his detailed and sympathetic renderings.

For the boys

The photographs from Matthew Sleeth's tour of duty series look more like advertisements than images of war.

I'm not there

Reflections

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.

The long game

Penelope Grist spends some quality time with the Portrait Gallery’s summer collection exhibition, Eye to Eye.

More cash than dash

Joanna Gilmour describes how colonial portraitists found the perfect market among social status seeking Sydneysiders.

Petal to the mettle

Sarah Engledow lauds the very civil service of Dame Helen Blaxland.

School portraits

Inga Walton sheds light on a portraiture collection usually only seen by students and teachers at Melbourne University.

Public hanging

As a convict Thomas Bock was required to sketch executed murders for science; as a free man, fashionable society portraits.