One half of the team that was Eltham Films left scarcely a trace in the written historical record, but survives in a vivid portrait.
Penelope Grist charts an immersive path through Stuart Spence’s photography.
Angus Trumble salutes the glorious portraiture of Sir Thomas Lawrence.
Christopher Chapman highlights the inaugural hang of the new National Portrait Gallery building which opened in December 2008.
Michael Desmond explores what makes a portrait subject significant.
Jennifer Coombes explores the lush images of Picnic at Hanging Rock, featuring Anne-Louise Lambert’s Miranda, the face of the film.
The portrait of Janet and Horace Keats with the spirit of the poet Christopher Brennan is brought to life by artist Dora Toovey.
Joanna Gilmour discovers that the beards of the ill-fated explorers Burke and Wills were as epic as their expedition to traverse Australia from south to north.
Dr. Sarah Engledow explores the context surrounding Charles Blackman's portrait of Judith Wright, Jack McKinney and their daughter Meredith.
Jane Raffan investigates auction sales of self portraits nationally and internationally.
Most well-regarded pictures of chickens show them dead. A reliable way to tell if a chicken in a painting is dead is to check if it’s hanging upside down, because unlike, say, cockatoos, chickens don’t practise inversion for enjoyment in life.
Sarah Engledow trains her exacting lens on the nine photographs from 20/20.
A toast to the acquisition of an unconventional new portrait of former Prime Minister, Stanley Melbourne Bruce.
Inner Worlds evokes a broad view of psychology as a discipline. However, the specific interests of the practitioners whose portraits are included in the exhibition incorporate specialist areas including psychoanalysis.
Sarah Engledow looks at three decades of Nicholas Harding's portraiture.
