- About us
- Support the Gallery
- Venue hire
- Publications
- Research library
- Organisation chart
- Employment
- Contact us
- Make a booking
- Onsite programs
- Online programs
- School visit information
- Learning resources
- Little Darlings
- Professional learning
Collection: National Portrait Gallery
Gift of Malcolm Robertson in memory of William Thomas Robertson 2018
Donated through the Australian Government's Cultural Gifts Program
Collection: National Portrait Gallery
Purchased 2018
Collection: National Portrait Gallery
Purchased 2018
Angus Trumble reveals the complex technical mastery behind a striking recent acquisition, Henry Bone’s enamel portrait of William Manning.
Nicholas Harding: 28 portraits features paintings of Robert Drewe, John Bell and Hugo Weaving alongside gorgeously coloured recent oil portraits, delicate gouaches and bold ink and charcoal drawings.
Last Sunday I had the privilege of appearing at the Canberra Writers’ Festival in conversation with Julia Baird. The subject of our session was Julia’s recent biography, Victoria the Queen: An Intimate Biography of the Woman who Ruled an Empire.
The late Georgian and early Victorian working classes often bought their food in ale-houses, chop-houses and ‘penny pie shops’, or purchased their meals day after day in the streets.
Jo Gilmour uncovers endearing authenticity in the art of a twice-transported Tasmanian.
Christopher Chapman takes a trip through the doors of perception, arriving at the junction of surrealism and psychoanalysis.
Diana O’Neil samples the tartan treats on offer in the Scottish National Portrait Gallery.
Krysia Kitch reviews black chronicles at the National Portrait Gallery, London.
Gift of Denis Savill 2017. Donated through the Australian Government's Cultural Gifts Program.
Collection: National Portrait Gallery
Gift of Mrs Lily Kahan 2017
Donated through the Australian Government's Cultural Gifts Program
Collection: National Portrait Gallery
Purchased with funds provided by the Sid and Fiona Myer Family Foundation 2017
Robyn's parents had two terriers, Wuff and Snuff. In spite of Snuff’s ominous name and a couple of close shaves – once, he jumped out of a moving car, and another time, on a long road trip, he was accidentally left behind at a petrol station – he outlived Wuff.
When did notions of very fine and very like become separate qualities of a portrait? And what happens to 'very like' in the age of photographic portraiture?