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Alistair McGhie writes about the portraits of three of Australia's top professional cyclists: Cadel Evans, Stuart O'Grady and Robbie McEwen painted by Matthys Gerber.
Anne O’Hehir on the seductive power of the film still to reflect and shape ourselves and our cultural landscape.
Penelope Grist finds photographer Matt Nettheim re-visiting a formative and fulfilling career tram stop.
Michael Desmond reveals the origins of composite portraits and their evolution in the pursuit of the ideal.
Michael Desmond looks at the history of the Vanity Fair magazine in conjunction with the exhibition Vanity Fair Portraits: Photographs 1913-2008
Charles Haddon Chambers the Australian-born playboy playwright settled permanently in London in 1880 but never lost his Australian stance when satirising the English.
Polly Borland talks to Oliver Giles about the celebrity portraits that made her name and why she’s now making more abstract art.
The exhibition Australians in Hollywood celebrated the achievements of Australians in the highly competitive American film industry.
Dr Sarah Engledow explores the portraits of writers held in the National Portrait Gallery's collection.
Three tiny sketches of Dame Nellie Melba in the NPG collection were created by the artist who was to go on to paint the most imposing representation of the singer: Rupert Bunny.
Feminism, risktaking and the politics of looking: Joanna Gilmour steps into the world of Julie Rrap.
Sarah Engledow picks some favourites from a decade of the National Photographic Portrait Prize.
Sharon Peoples contemplates costumes and the construction of identity.
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).
Penny Grist, National Photographic Portrait Prize judge and curator, introduces the 2016 Prize.
Judith Pugh reflects on Clifton Pugh's approach to portrait making.