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Who's that?

Michael Desmond discusses the iconic picture of two Rugby League players which became known as 'The Gladiators'.

Facing Facts

Former NPG Director, Andrew Sayers describes the 1922 Self-portrait with Gladioli by George Lambert.

Poets' Portraits

The Portrait Gallery's paintings of two poets, Les Murray and Peter Porter, demonstrate two very different artists' responses to the challenge of representing more than usually sensitive and imaginative men.

The last word

David Hansen’s tribute to his close friend, prince of words and former National Portrait Gallery director, the late Angus Trumble.

The silent partner

One half of the team that was Eltham Films left scarcely a trace in the written historical record, but survives in a vivid portrait.

Everything, everyqueer, all at once

Bradley Vincent considers Samuel Hodge’s use of the archive to create a queer vernacular of portraiture.

Diamond Doll

Karen Vickery delights in a thespian thread of the Australian yarn.

Black and white history

English artist Benjamin Duterrau took up the cause of the Indigenous peoples of Tasmania with his detailed and sympathetic renderings.

Painting mates

Michael Desmond discusses Fred Williams' portraits of friends, artist Clifton Pugh, David Aspden and writer Stephen Murray-Smith, and the stylistic connections between his portraits and landscapes.

Melbourne experience

Diana Warnes explores the lives of Hal and Katherine 'Kate' Hattam through their portraits painted by Fred Williams and Clifton Pugh.

The fat of the land

Sir Sidney Kidman (1857-1935) is inscribed in Australian legend as the ‘Cattle King’. 

In good company

Jean Appleton’s 1965 self portrait makes a fine addition to the National Portrait Gallery’s collection writes Joanna Gilmour.

Start Your Engines...

The bronze sculpture by Julie Edgar reflects through both the material and representation the determined and straight-forward nature of Brabham. 

No Laughing Matter

The biographical exhibition of Barry Humphries was the first display of its kind at the National Portrait Gallery.

Public hanging

As a convict Thomas Bock was required to sketch executed murders for science; as a free man, fashionable society portraits.

The bright-eyed Mariner