Australia's former Cultural Attache to the USA, Ron Ramsey, describes the mood at the opening week of the revitalised American National Portrait Gallery.
Purchased 2018
Collection: National Portrait Gallery
Purchased with funds provided by L Gordon Darling AC CMG 2003
The artist's diary profiles six decades of Cassab's work, from the early portrait commissions of the 1950s to later paintings that have helped confirm her eminent place in the canon of Australian portraiture.
Rennie Ellis: Aussies All is a celebration of the life and work of the late Australian photographer Rennie Ellis.
Christopher Chapman highlights the inaugural hang of the new National Portrait Gallery building which opened in December 2008.
Drawn from some of the many donations made to the Gallery's collection, the exhibition Portraits for Posterity pays homage both to the remarkable (and varied) group of Australians who are portrayed in the portraits and the generosity of the many donors who have presented them to the Gallery.
This exhibition showcases portraits acquired through the generosity of the National Portrait Gallery’s Founding Patrons, L Gordon Darling AC CMG and Marilyn Darling AC.
The exhibition Flash: Australian Athletes in Focus offers various interpretations of sporting men and women by five Australian photographers.
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).
Sir William Dobell painted the portraits of Sir Charles Lloyd Jones and Sir Hudson Fysh, who did much to promote the image of Australia in this country and abroad.
Sarah Engledow on Messrs Dobell and MacMahon and the art of friendship.
Dempsey’s People curator David Hansen chronicles a research tale replete with serendipity, adventure and Tasmanian tigers.
Representations of the inhabitants of the new world expose the complexities of the colonisers' intentions.
Sir Sidney Kidman (1857-1935) is inscribed in Australian legend as the ‘Cattle King’.
Joanna Gilmour examines the prolific output of Charles Balthazar Julien Févret de Saint-Mémin, and discovers the risk of taking a portrait at face value.
