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Malcolm Robertson tells the family history of one of Australia's earliest patrons of the arts, his Scottish born great great great grandfather, William Robertson.
The National Portrait Gallery's acquisition of the portrait of Edward John Eyre by pioneering English photographer Julia Margaret Cameron.
Cartoonist Michael Leunig's insights into the human condition and current affairs have become famous Australia-wide.
Dr. Sarah Engledow explores the context surrounding Charles Blackman's portrait of Judith Wright, Jack McKinney and their daughter Meredith.
The death of a gentlewoman is shrouded in mystery, a well-liked governor finds love after sorrow, and two upright men become entangled in the historical record.
Gideon Haigh discusses portraits of Australian cricketers from the early 20th century
Inga Walton sheds light on a portraiture collection usually only seen by students and teachers at Melbourne University.
Ashleigh Wadman rediscovers the Australian characters represented with a kindly touch by the British portrait artist Leslie Ward for the society magazine Vanity Fair.
One night in the spring of 1970 in an old house in Whale Beach, north of Sydney, John Witzig, Albe Falzon and David Elfick put together the first issue of Tracks, playing Neil Young’s album Harvest over and over again as they pasted up galleys of type.
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.
Christopher Chapman highlights the inaugural hang of the new National Portrait Gallery building which opened in December 2008.
Sarah Engledow writes about Gordon and Marilyn Darling and their support for the National Portrait Gallery throughout its evolution.
In his speech launching the new National Portrait Gallery building on 3 December 2008, then Prime Minister Kevin Rudd set the Gallery in a national and historical context.
It may seem an odd thing to do at one’s leisure on a beautiful tropical island, but I spent much of my midwinter break a few weeks ago re-reading Bleak House.
Angus Trumble reveals the complex technical mastery behind a striking recent acquisition, Henry Bone’s enamel portrait of William Manning.