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The National Portrait Gallery acknowledges the Traditional Custodians of Country throughout Australia and recognises the continuing connection to lands, waters and communities. We pay our respect to Aboriginal and Torres Strait Islander cultures and to Elders both past and present.

Aboriginal and Torres Strait Islander viewers are warned that this website contains images of deceased persons.

Portrait 73

In this issue:

  • Glynis Traill-Nash explores the Gallery’s new commissioned portrait of Romance Was Born designers Anna Plunkett and Luke Sales by Samuel Hodge.
  • Rebecca Blake profiles two-time National Photographic Portrait Prize finalist Gerwyn Davies.
  • Serena Bentley speaks to In Bloom artists Nathan Beard, Pamela See and Angela Tiatia about the symbolism of flowers in their portraits.
  • Emma Kindred looks at Vincent Namatjira’s double portrait of himself and his great-grandfather, celebrated artist Albert Namatjira.
  • Isobel Parker Philip and Emma Kindred consider Emily Hunt’s opulent marionette sculptures and etchings.
  • Jacqueline Maley shares an extract from her 2025 Andrew Sayers Memorial Lecture.
  • Plus find out what’s happening at the Portrait Gallery, from exhibitions here and on the road to new commissions and acquisitions. And lots more!

Plus find out what’s else is happening at the Portrait Gallery, from exhibitions here and on the road to new commissions and acquisitions. And lots more!

Articles from this issue will be published online when Portrait 74 is out. Until then, you can purchase Portrait 73 online from The Curatoreum.

Alternatively, join our Circle of Friends and we'll send you a copy for free!

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Portrait is the preeminent journal of Australian and international portraiture.
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Portrait 72
Portrait 72

Portrait 72

Thom Roberts reveals the stories behind some of his portraits, Rebecca Harkins-Cross on Carol Jerrems, and Daniel Browning reflects on Tracey Moffatt’s 1986 series Some lads.
Portrait 71
Portrait 71
Portrait 71
Portrait 71

Portrait 71

Ryan Presley about portraiture, Emma Kindred on the career of Joan Ross, Ellie Buttrose looks at Archie Moore’s kith and kin, and Joanna Gilmour steps into the world of Julie Rrap.
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The National Portrait Gallery acknowledges the Traditional Custodians of Country throughout Australia and recognises the continuing connection to lands, waters and communities. We pay our respect to Aboriginal and Torres Strait Islander cultures and to Elders past and present. We respectfully advise that this site includes works by, images of, names of, voices of and references to deceased people.

This website comprises and contains copyrighted materials and works. Copyright in all materials and/or works comprising or contained within this website remains with the National Portrait Gallery and other copyright owners as specified.

The National Portrait Gallery respects the artistic and intellectual property rights of others. The use of images of works of art reproduced on this website and all other content may be restricted under the Australian Copyright Act 1968 (Cth). Requests for a reproduction of a work of art or other content can be made through a Reproduction request. For further information please contact NPG Copyright.

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