Stephen Valambras Graham traverses the intriguing socio-political terrain behind two iconic First Nations portraits of the 1850s.
The world of Thea Proctor was the National Portrait Gallery's second exhibition to follow the life of a single person, following Rarely Everage: The lives of Barry Humphries.
Bess Norriss Tait created miniature watercolour portraits full of character and life.
One half of the team that was Eltham Films left scarcely a trace in the written historical record, but survives in a vivid portrait.
The exhibition Aussies all features the ecclectic portrait photography of Rennie Ellis which captures Australian life during the 70s and 80s.
Sarah Engledow ponders the divergent legacies of Messrs Kendall and Lawson.
The biographical exhibition of Barry Humphries was the first display of its kind at the National Portrait Gallery.
Aimee Board ventures within and beyond to consider two remarkable new Gallery acquisitions.
Jane Raffan asks do clothes make the portrait, and can the same work with a new title fetch a better price?
Family affections are preserved in a fine selection of intimate portraits.
Grace Carroll on the gendered world of the Wentworths.
Penelope Grist explores the United Nations stories in the Gallery’s collection.
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).
Works by Arthur Boyd and Sidney Nolan bring the desert, the misty seashore and the hot Monaro plains to exhibition Open Air: Portraits in the landscape.
Tedi Bills talks to George Gittoes about canvassing conflict.
John Singer Sargent: a painter at the vanguard of contemporary movements in music, literature and theatre.
