A new painting by Jiawei Shen captures the vision and resolve of the Gallery's founder, L. Gordon Darling AC CMG.
Experience the art of rock music; attend to the neglected aspects of Lord Kitchener's work; and say farewell to the inimitable Bob Ellis.
In focussing on the importance of gifts in the building of the collection, prominence must be given to the most spectacular of the National Portrait Gallery's acquisitions; the portrait of Captain James Cook RN by John Webber R.A.
The National Portrait Gallery acquired a beguiling silhouette group portrait by Samuel Metford, an English artist who spent periods of his working life in America.
In February 2003 the National Portrait Gallery Circle of Friends brought Sir Robert Strong to Australia to present a series of lectures entitled The Artists & The Banquet- A History of Dining, which focused on the links between gardens and table decoration from the Renaissance to the Victorian Era.
The exhibition Portraits for Posterity celebrates gifts to the Gallery, of purchases made with donated funds, and testifies to the generosity and community spirit of Australians.
NPG Washington director Kim Sajet on the Obama portraits, Sarah Ball’s Immigrants, judging the NPPP, Frances Hodgkins, and Picnic at Hanging Rock.
Peter Wegner's approach to portraiture could be considered a visual record of the rapport, the dynamic space between artist and subject.
Dr Sarah Engledow writes about the portraiture of Australian artist Nicholas Harding.
Celebrates the centenary of the first national art collection, the Historic Memorials Collection, housed at Australia's Parliament House.
Christopher Chapman delights in the intimacy of Robert Mapplethorpe's photography
A photographic portrait by Kerry Dundas captures the contemplative mind of visionary painter Godfrey Miller.
During her time in Australian politics, Dame Nancy Buttfield was an impressive advocate for equality for women and was responsible for ending the marriage bar for women in the Public Service.
Diana O’Neil on Noel Counihan’s vivid 1971 portrait of Alan Marshall.
Peter Wilmoth’s boy-journalist toolkit for antagonising an Australian political giant.
National Photographic Portrait Prize curator, Sarah Engledow, finds reward in a difficult task and ultimately uncovers the essence of portraiture.
