Karen Vickery on Chang the Chinese giant in Australia.
Christopher Chapman takes a trip through the doors of perception, arriving at the junction of surrealism and psychoanalysis.
Sandra Bruce gazes on love and the portrait through Australian Love Stories’ multi-faceted prism.
Sharon Peoples contemplates costumes and the construction of identity.
Jean Appleton’s 1965 self portrait makes a fine addition to the National Portrait Gallery’s collection writes Joanna Gilmour.
Karl James gives short shrift to doubts about the profile of General Sir John Monash.
Sarah Engledow previews the beguiling summer exhibition, Idle hours.
Celebrating a new painted portrait of Joseph Banks, Sarah Engledow spins a yarn of the naturalist, the first kangaroo in France and Don, a Spanish ram.
Basil grew into a speckled beauty – a long-legged leaper and an exceptionally vocal dog, with a great register of sounds, ascending in shock value from a whimper to a growl to a bark to a yelp that’s a violation of the ears.
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).
Joanna Gilmour describes how colonial portraitists found the perfect market among social status seeking Sydneysiders.
Aircraft designer, pilot and entrepreneur, Sir Lawrence Wackett rejoins friends and colleagues on the walls of the National Portrait Gallery.
Sarah Engledow writes about Gordon and Marilyn Darling and their support for the National Portrait Gallery throughout its evolution.
Vanity Fair Editor David Friend describes how the rebirth of the magazine sated our desire for access into the lives of celebrities and set the standard for the new era of portrait photography.
Traudi Allen discovers sensitivity, humour and fine draughtsmanship in the portraiture of John Perceval.
