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Angus delves into the biographies of two ambitious characters; Sir Stamford Raffles and Sir John Pope-Hennessy.
Angus Trumble provides poignant context for Aña Wojak’s portrait of Tony Carden.
Angus Trumble salutes the glorious portraiture of Sir Thomas Lawrence.
Angus' initial perception of Uluru shifts, as he comes to see it as central to the entire order of Anangu life.
Last month we marked the twentieth anniversary of the formal establishment of the National Portrait Gallery, the tenth of the opening of our signature building, and the fifth of our having become a statutory authority under Commonwealth legislation.
It is a painful truth, but one which must be faced up to, that the pavlova, that iconic Australian dessert, a staple since the 1930s, was actually invented in New Zealand.
Fortunately, perhaps, there is no instruction manual for newly appointed art museum directors.
Eminent doctors and scientists have for more than a century consistently caused our nation to punch far above her weight.
The best horror stories are real. A flea sinks its proboscis into the skin of a sick black rat, feeds on its blood, and ingests lethally multiplying bacteria.
There is in the collection of the Yale Center for British Art in New Haven, Connecticut, an English painting, datable on the basis of costume to about 1745, that has for many years exercised my imagination.
The southern winter has arrived. For people in the northern hemisphere (the majority of humanity) the idea of snow and ice, freezing mist and fog in June, potentially continuing through to August and beyond, encapsulates the topsy-turvidom of our southern continent.
Portraits can render honour to remarkable men and women, but there are other ways.
This month I turn fifty, soI am just now looking rather more closely than usual at Fiona Foley, Steven Heathcote, Brenda Croft, Russell Crowe, Jeff Fenech, Akira Isogawa, Lee Kernaghan, My Le Thi, Shona Wilson and Mark Taylor AO, mindful that they too were 1964 arrivals.
Just now we pause to mark the centenary of ANZAC, the day when, together with British, other imperial and allied forces, the Australian and New Zealand Army Corps landed at Gallipoli at the start of the ill-starred Dardanelles campaign.
Several years ago I came across this curious painting on the racks in a distant, dusty corner of the store room in the basement of the Johannesburg Art Gallery in South Africa. Since then the mystery surrounding it has never been far from my mind.
I first knew Dr. Hoff when in 1986, long after retiring from the National Gallery of Victoria, she taught a graduate seminar on Rembrandt.