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The National Portrait Gallery acknowledges the Traditional Custodians of Country throughout Australia and recognises the continuing connection to lands, waters and communities. We pay our respect to Aboriginal and Torres Strait Islander cultures and to Elders both past and present.

Aboriginal and Torres Strait Islander viewers are warned that this website contains images of deceased persons.

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Sam and the Perfect World, 2005

The news from Washington

Magazine article by Lauretta Morton, 2006

Australia's former Cultural Attache to the USA, Ron Ramsey, describes the mood at the opening week of the revitalised American National Portrait Gallery.

Madame du Barry, 1791 by Richard Cosway

Little women

Magazine article by Joanna Gilmour, 2019

Joanna Gilmour looks beyond the ivory face of select portrait miniatures to reveal their sitters’ true grit.

Rehearsing Godot (Mullins as Lucky) 4.11.2013 by Nicholas Harding

Waiting for Godot

Magazine article by Dr Sarah Engledow, 2015

'Artist and actors, advancing spasmodically, find their rhythm together' writes Sarah Engledow.

Patrick Ryan, 1968 by Mark Strizic

The silent partner

Magazine article by Dr Sarah Engledow, 2015

One half of the team that was Eltham Films left scarcely a trace in the written historical record, but survives in a vivid portrait.

Portrait of William Manning, c.1821 by Henry Bone

Of beef in burgundy

Magazine article by Angus Trumble, 2017

Angus Trumble reveals the complex technical mastery behind a striking recent acquisition, Henry Bone’s enamel portrait of William Manning.

Self portrait

Fine and dandy

Magazine article by Joanna Gilmour, 2010

Whether the result of misadventure or misdemeanour, many accomplished artists were transported to Australia where they ultimately left a positive mark on the history of art in this country.

Ray Lawler

Diamond Doll

Magazine article by Karen Vickery, 2016

Karen Vickery delights in a thespian thread of the Australian yarn.

Self portrait

Profile of a marriage

Magazine article by Dr Sarah Engledow, 2006

Dr Sarah Engledow explores the lives of Sir George Grey and his wife Eliza, the subjects of a pair of wax medallions in the National Portrait Gallery's collection.

George and Jemima Billet with family

Costantini's convictions

Magazine article by Joanna Gilmour, 2017

Jo Gilmour uncovers endearing authenticity in the art of a twice-transported Tasmanian.

Self portrait, 1980
Alice Neel

Hard truths

Magazine article by Jennifer Higgie, 2022

Jennifer Higgie reveals how Alice Neel reinvigorated 20th century portraiture with her honest and perceptive depictions of the human experience.

Lyndall Hobbs and Marilyn at the Come as your favourite blonde party, Blitz Club, London, 1979 Robert Rosen

Shiny, happy people

Magazine article by Glynis Jones, 2022

Glynis Jones on the Powerhouse’s retrospective of one of Australia’s foremost fashion reportage and social photographers.

Self Portrait, 1963–64

What price self?

Magazine article by Jane Raffan, 2013

Jane Raffan investigates auction sales of self portraits nationally and internationally.

Self portrait

The Dissecting Room

Magazine article by Joanna Gilmour, 2015

Joanna Gilmour accounts for Australia’s deliciously ghoulish nineteenth century criminal portraiture.

Woman with Fair Hair and Pink Cardigan, 1949 by John Perceval.

The family scene

Magazine article, 2016

Traudi Allen discovers sensitivity, humour and fine draughtsmanship in the portraiture of John Perceval.

Self-portrait, 2015 by Rod McNicol

A spectral sentience

Magazine article by Aimee Board, 2019

Aimee Board reveals method, motivation and mortality in the portraiture of Rod McNicol.

Waterfall in Australia, c. 1830 by Augustus Earle

Augustus serendipitous

Magazine article by Joanna Gilmour, 2016

The London-born son of an American painter, Augustus Earle ended up in Australia by accident in January 1825.

© National Portrait Gallery 2024
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Canberra, ACT 2600, Australia
Phone +61 2 6102 7000
ABN: 54 74 277 1196

The National Portrait Gallery acknowledges the Traditional Custodians of Country throughout Australia and recognises the continuing connection to lands, waters and communities. We pay our respect to Aboriginal and Torres Strait Islander cultures and to Elders past and present. We respectfully advise that this site includes works by, images of, names of, voices of and references to deceased people.

This website comprises and contains copyrighted materials and works. Copyright in all materials and/or works comprising or contained within this website remains with the National Portrait Gallery and other copyright owners as specified.

The National Portrait Gallery respects the artistic and intellectual property rights of others. The use of images of works of art reproduced on this website and all other content may be restricted under the Australian Copyright Act 1968 (Cth). Requests for a reproduction of a work of art or other content can be made through a Reproduction request. For further information please contact NPG Copyright.

The National Portrait Gallery is an Australian Government Agency