Sharon Peoples contemplates costumes and the construction of identity.
Jean Appleton’s 1965 self portrait makes a fine addition to the National Portrait Gallery’s collection writes Joanna Gilmour.
Sarah Engledow casts a judicious eye over portraits in the Victorian Bar’s Peter O’Callaghan QC Portrait Gallery.
Karl James gives short shrift to doubts about the profile of General Sir John Monash.
Sarah Engledow previews the beguiling summer exhibition, Idle hours.
Celebrating a new painted portrait of Joseph Banks, Sarah Engledow spins a yarn of the naturalist, the first kangaroo in France and Don, a Spanish ram.
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 how colonial portraitists found the perfect market among social status seeking Sydneysiders.
Aircraft designer, pilot and entrepreneur, Sir Lawrence Wackett rejoins friends and colleagues on the walls of the National Portrait Gallery.
Vanity Fair Editor David Friend describes how the rebirth of the magazine sated our desire for access into the lives of celebrities and set the standard for the new era of portrait photography.
Traudi Allen discovers sensitivity, humour and fine draughtsmanship in the portraiture of John Perceval.
How seven portraits within Bare reveal in a public portrait parts of the body and elements of life usually located in the private sphere.
Dempsey’s People curator David Hansen chronicles a research tale replete with serendipity, adventure and Tasmanian tigers.
Anne Sanders celebrates the cinematic union of two pioneering australian women.
Dr Sarah Engledow explores the portraits of writers held in the National Portrait Gallery's collection.
