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Glynis Jones on the Powerhouse’s retrospective of one of Australia’s foremost fashion reportage and social photographers.
Archie 100 curator (and detective) Natalie Wilson’s nationwide search for Archibald portraits unearthed the fascinating stories behind some long-lost treasures.
Dr. Sarah Engledow discusses a collection of drawings and prints by the Victorian artist Rick Amor acquired in 2005.
Tom Fryer surveys the twentieth-century architectural project, and finds representation and the portrait were integral elements.
Sarah Engledow is seduced by the portraits and the connections between the artists and their subjects in the exhibition Impressions: Painting light and life.
Dr Sarah Engledow discusses the recent gift of works by David Campbell.
Aimee Board traces Judy Cassab’s path to the Australian outback, arriving at the junction of inspiration and abstraction.
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).
Traudi Allen discovers sensitivity, humour and fine draughtsmanship in the portraiture of John Perceval.
Joanna Gilmour explores photographic depictions of Aboriginal sportsmen including Lionel Rose, Dave Sands, Jerry Jerome and Douglas Nicholls.
Judith Pugh reflects on Clifton Pugh's approach to portrait making.
John Singer Sargent: a painter at the vanguard of contemporary movements in music, literature and theatre.
Dr Sarah Engledow puts four gifts to the National Portrait Gallery’s Collection in context.
Joanna Gilmour reflects on merging collections and challenging traditional assumptions around portraiture in WHO ARE YOU.
Sarah Engledow bristles at the biographers’ neglect of Kitchener’s antipodean intervention.