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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.
Archie 100 curator (and detective) Natalie Wilson’s nationwide search for Archibald portraits unearthed the fascinating stories behind some long-lost treasures.
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.
Aimee Board reveals method, motivation and mortality in the portraiture of Rod McNicol.
Sarah Engledow trains her exacting lens on the nine photographs from 20/20.
Sarah Engledow describes the fall-out once Brett Whiteley stuck Patrick White’s list of his loves and hates onto his great portrait of the writer.
Traversing paint and pixels, Inga Walton examines portraits of select women in Tudors to Windsors: British Royal Portraits.
How seven portraits within Bare reveal in a public portrait parts of the body and elements of life usually located in the private sphere.
Dempsey’s People curator David Hansen chronicles a research tale replete with serendipity, adventure and Tasmanian tigers.
John Singer Sargent: a painter at the vanguard of contemporary movements in music, literature and theatre.
Sarah Engledow casts a judicious eye over portraits in the Victorian Bar’s Peter O’Callaghan QC Portrait Gallery.
One half of the team that was Eltham Films left scarcely a trace in the written historical record, but survives in a vivid portrait.