The relationship between artist and sitter is greatly intimate. Sometimes over many hours, the two occupy space with a distinct nearness; the artist observing and recording characteristics that are fleeting, and often unnoticed. More than how we look, a portrait can reveal how one is seen, revealing aspects of closeness and isolation between the sitter and those they encounter: family, friends and strangers.
1 Dallas Harold, 2018 Naomi Hobson. National Gallery of Victoria, Melbourne. Purchased with funds donated by Linda Herd 2019. 2 Two women, 2005 Ron Mueck. National Gallery of Victoria. Purchased, Victorian Foundation for Living Australian Artists, 2007.
The nude in portraiture has prevailed throughout history, and has developed in tandem with gender politics and social advancements. Deeply personal, the nude portrait exposes, quite literally, how one is seen in their most vulnerable state, bringing to light ideas of intimacy, familiarity and sometimes humour.
1 Jessie with doll, 1897 Hugh Ramsay. National Gallery of Victoria. Gift of Patricia Fullerton in memory of her mother, Nell Turnbull née Ramsay, niece of the artist to commemorate the 150th Anniversary of the National Gallery of Victoria, 2011. 2 The young mother, 1891 John Longstaff. National Gallery of Victoria. Purchased with funds donated by the NGV Women's Association, Alan and Mavourneen Cowen, Paula Fox, Ken and Jill Harrison and donors to the John Longstaff Appeal, 2013
This digital record has been made available on NGV Collection Online through the generous support of The Vizard Foundation.
Portraits of families and loved ones are also seen here, and though sentimental and affectionate, many of their stories are also tarred with loss and despair. These works allow us to consider the breadth of love with its many guises and complexities.
