Sarah Engledow is seduced by the portraits and the connections between the artists and their subjects in the exhibition Impressions: Painting light and life.
Dr Sarah Engledow discusses the recent gift of works by David Campbell.
Aimee Board traces Judy Cassab’s path to the Australian outback, arriving at the junction of inspiration and abstraction.
Alexandra Roginski gets a feel for phrenology’s fundamentals.
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).
Traudi Allen discovers sensitivity, humour and fine draughtsmanship in the portraiture of John Perceval.
Anna Culliton never had a colouring-in book when she was little. Her parents –Tony, a filmmaker, and Stephanie, a painter – wouldn’t let her have one. Instead, they insisted on her drawing her own pictures to colour-in.
Joanna Gilmour explores photographic depictions of Aboriginal sportsmen including Lionel Rose, Dave Sands, Jerry Jerome and Douglas Nicholls.
Judith Pugh reflects on Clifton Pugh's approach to portrait making.
How seven portraits within Bare reveal in a public portrait parts of the body and elements of life usually located in the private sphere.
John Singer Sargent: a painter at the vanguard of contemporary movements in music, literature and theatre.
Dr Sarah Engledow puts four gifts to the National Portrait Gallery’s Collection in context.
Sarah Engledow explores the history of the prime ministers and artists featured in the exhibition.
Sarah Engledow bristles at the biographers’ neglect of Kitchener’s antipodean intervention.
Dr Christopher Chapman NPG Curator of Inner Worlds explains the development of an exhibition that spans from Surrealism to contemporary art.
