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Inga Walton sheds light on a portraiture collection usually only seen by students and teachers at Melbourne University.
Michael Desmond discusses Fred Williams' portraits of friends, artist Clifton Pugh, David Aspden and writer Stephen Murray-Smith, and the stylistic connections between his portraits and landscapes.
The photograph was a brief, candid moment, which unfolded into a portrait. Peter and I were in Silverton, NSW, chatting as our students explored the town. The weak afternoon light suddenly became dramatic and defined, so I asked Peter if I could take his portrait.
Jessica Smith looks at the 'fetching' portrait of Tasmania's first Anglican Bishop, Francis Russell Nixon by George Richmond
Richard Flanagan (b. 1961) was born in Longford in northern Tasmania, the second youngest of the six children of Archie Flanagan, a primary school principal, and his wife Helen.
1 portrait in the collection
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.
Anne Sanders writes about the exhibitions Victoria & Albert: Art & Love on display at the Queen's Gallery, Buckingham Palace and the retrospective of Sir Thomas Lawrence at the National Portrait Gallery, London.
Penelope Grist explores the interplay between medicine and portraiture in Vic McEwan’s Face to Face: The New Normal.
Susi Muddiman delights in Michael Zavros’ stunning portrait of the honourable Dame Quentin Bryce AD CVO.
In the exhibition William Kentridge: Drawn from Africa at the National Gallery of Australia, the artist marries Gogol's Tsarist Russia, with that of Stalin and the damaging history of his homeland, South Africa.
Joanna Gilmour explores the life and art of the Australian artist Janet Dawson.
Joanna Gilmour presents John Kay’s portraits of a more infamous side of Edinburgh.
Select extracts from Mirka Mora's autobiography, Wicked but Virtuous, provide rich accompaniment to recent Gallery acquisitions.
A new painting by Jiawei Shen captures the vision and resolve of the Gallery's founder, L. Gordon Darling AC CMG.
Take a peek at a selection of the portraits you can see in the exhibition.
One of the chief aims of George Stubbs, 1724–1806, the late Judy Egerton’s great 1984–85 exhibition at the Tate Gallery was to provide an eloquent rebuttal to Josiah Wedgwood’s famous remark of 1780: “Noboby suspects Mr Stubs [sic] of painting anything but horses & lions, or dogs & tigers.”