
Angus Trumble grabs his life jacket and rides the Pokémon GO tsunami.

In honour of the launch of the Popular Pet Show, Angus recalls a diplomatic incident with an over-excited golden retriever.

Angus Trumble explores the creative manifestations of radiance.

The Chairman, Board, Director and all the staff of the National Portrait Gallery mourn the loss of our Benefactor, Mary Isabel Murphy.

Angus's latest Trumbology is accompanied by the following caveat: 'This one is reeeeeeally geeky.'

Just in time for Christmas, Angus reflects on the most special present he has ever received.

Angus delves into the biographies of two ambitious characters; Sir Stamford Raffles and Sir John Pope-Hennessy.

Angus' initial perception of Uluru shifts, as he comes to see it as central to the entire order of Anangu life.

On this day eight hundred years ago at Runnymede near Windsor, King John signed Magna Carta.

The southern winter has arrived. For people in the northern hemisphere (the majority of humanity) the idea of snow and ice, freezing mist and fog in June, potentially continuing through to August and beyond, encapsulates the topsy-turvidom of our southern continent.

Portraits can render honour to remarkable men and women, but there are other ways.

Those of you who are active in social media circles may be aware that through the past week I have unleashed a blitz on Facebook and Instagram in connection with our new winter exhibition Dempsey’s People: A Folio of British Street Portraits, 1824−1844.

It is a painful truth, but one which must be faced up to, that the pavlova, that iconic Australian dessert, a staple since the 1930s, was actually invented in New Zealand.

This week it is impossible not to contemplate the ways in which France has touched many Australian lives.

Nothing quite prepares the first-time visitor to Cambodia for the scale and grandeur of the monuments of the ancient Khmer civilisation of Angkor.

One of the chief aims of George Stubbs, 1724–1806, the late Judy Egerton’s great 1984–85 exhibition at the Tate Gallery was to provide an eloquent rebuttal to Josiah Wedgwood’s famous remark of 1780: “Noboby suspects Mr Stubs [sic] of painting anything but horses & lions, or dogs & tigers.”