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Subtle emotion

Christopher Chapman considers photographer Rozalind Drummond's portrait of author Nam Le.

Apollo's breath

Christopher Chapman delights in the intimacy of Robert Mapplethorpe's photography

Support Crew

Portraits of philanthropists in the collection honour their contributions to Australia and acknowledge their support of the National Portrait Gallery.

Conflicting images

Michael Desmond reveals the origins of composite portraits and their evolution in the pursuit of the ideal.

Brothers on farms

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.

Hearts of Darkness

The National Portrait Gallery's acquisition of the portrait of Edward John Eyre by pioneering English photographer Julia Margaret Cameron.

The Philosophy of Teapots and Ducks

Cartoonist Michael Leunig's insights into the human condition and current affairs have become famous Australia-wide.

Big bouquet of Blackmans

Dr. Sarah Engledow explores the context surrounding Charles Blackman's portrait of Judith Wright, Jack McKinney and their daughter Meredith.

A real Pratt

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.

Top shot that

Gideon Haigh discusses portraits of Australian cricketers from the early 20th century

Vanity fair

Ashleigh Wadman rediscovers the Australian characters represented with a kindly touch by the British portrait artist Leslie Ward for the society magazine Vanity Fair.

Political profiles

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.

In the galleries

Christopher Chapman highlights the inaugural hang of the new National Portrait Gallery building which opened in December 2008.

An Australian story

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.

The bright-eyed Mariner

Of beef in burgundy

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