Andrew Sayers discusses the real cost of George Lambert's Self portrait with gladioli 1922.
Angus Trumble reveals the complex technical mastery behind a striking recent acquisition, Henry Bone’s enamel portrait of William Manning.
Robyn Sweaney's quiet Violet obsession.
Penny Grist on motivation, method and melancholy in the portraiture of Darren McDonald.
Dr Christopher Chapman describes the experimental exhibition Portraits + Architecture
John Zubrzycki meets Australian paint pioneer Jim Cobb.
Charting a path from cockatiel to finch, Annette Twyman explores her family portraits and stories.
Shipmates for years, James Cook and Joseph Banks each kept a journal but neither man shed light on their relationship.
Fiona Gruber investigates the work of Australian painter Kristin Headlam.
Politics and personae in the portraiture of TextaQueen by Jane Raffan.
Christopher Chapman takes a trip through the doors of perception, arriving at the junction of surrealism and psychoanalysis.
Henry Mundy's portraits flesh out notions of propriety and good taste in a convict colony.
Alison Weir explores the National Portrait Gallery, London and the BP Portrait Award to find what makes a good painted portrait - past and present.
John Zubrzycki lauds the characters of the Australian escapology trade.
Jean Appleton’s 1965 self portrait makes a fine addition to the National Portrait Gallery’s collection writes Joanna Gilmour.
Jane Raffan investigates auction sales of self portraits nationally and internationally.
