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.
The exhibition Aussies all features the ecclectic portrait photography of Rennie Ellis which captures Australian life during the 70s and 80s.
Lucy Quinn compares the approaches of three photographers lured to the action and culture of roller derby.
An extract from the 2004 Nuala O'Flaaherty Memorial Lecture at the Queen Victoria Musuem and Art Gallery in Launceston in which Andrew Sayers reflects on the unique qualities of a portrait gallery.
Michael Desmond charts the path of portraiture, arriving at Julian Opie’s digital realm.
Sarah Engledow is seduced by the portraits and the connections between the artists and their subjects in the exhibition Impressions: Painting light and life.
Bruce Petty's animated self portrait captures a life's journey compressed into a few minutes.
Michael Desmond profiles a handful of the entrants in first National Photographic Portrait Prize and notes emerging themes and categories.
Peter Wilmoth’s boy-journalist toolkit for antagonising an Australian political giant.
The biographical exhibition of Barry Humphries was the first display of its kind at the National Portrait Gallery.
Christopher Chapman takes a trip through the doors of perception, arriving at the junction of surrealism and psychoanalysis.
Anne O’Hehir on the seductive power of the film still to reflect and shape ourselves and our cultural landscape.
Roger Benjamin explores the intriguing union of Lina Bryans and Alex Jelinek.
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).
Joanna Gilmour discovers that the beards of the ill-fated explorers Burke and Wills were as epic as their expedition to traverse Australia from south to north.
Stephen Valambras Graham traverses the intriguing socio-political terrain behind two iconic First Nations portraits of the 1850s.
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.
The National Portrait Gallery is an Australian Government Agency