Sarah Engledow ponders the divergent legacies of Messrs Kendall and Lawson.
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.
Joanna Gilmour explores the life of colonial women Lady Ellen Stirling, Eliza Darling, Lady Eliza Arthur, Elizabeth Macquarie and Lady Jane Franklin.
Christopher Chapman highlights the inaugural hang of the new National Portrait Gallery building which opened in December 2008.
Sarah Engledow explores the history of the prime ministers and artists featured in the exhibition.
Sarah Engledow writes about Gordon and Marilyn Darling and their support for the National Portrait Gallery throughout its evolution.
At just 7.8 x 6.2 cm, the daguerreotype of Thomas Sutcliffe Mort and his wife Theresa is one of the smallest works in the collection of the National Portrait Gallery.
Stephen Zagala discusses Richard Avedon’s work from an Australian perspective.
Grace Carroll contemplates the curious case of Christian Waller.
Angus Trumble reveals the complex technical mastery behind a striking recent acquisition, Henry Bone’s enamel portrait of William Manning.
The biographical exhibition of Barry Humphries was the first display of its kind at the National Portrait Gallery.
Jane Raffan asks do clothes make the portrait, and can the same work with a new title fetch a better price?
Krysia Kitch celebrates Oodgeroo Noonuccal.
Family affections are preserved in a fine selection of intimate portraits.
Sarah Engledow lauds the very civil service of Dame Helen Blaxland.
Anne Sanders imbibes Tony Bilson’s gastronomic revolution.
