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.
Ellen Kent examines the portrait of Vincent Lingiari and Prime Minister Gough Whitlam taken by photographer Mervyn Bishop.
Joanna Gilmour explores the life of colonial women Lady Ellen Stirling, Eliza Darling, Lady Eliza Arthur, Elizabeth Macquarie and Lady Jane Franklin.
Christopher Chapman examines the battle of glamour vs. grunge which played out in the fashion and advertising of the 1990s.
Robin Sellick captured a rare moment of quietude from the late conservation star Steve Irwin.
Michael Desmond examines the daguerreotype portraits created by American artist Chuck Close.
The Glossy 2 exhibition highlights the integral role magazine photography plays in illustrating and shaping our contemporary culture.
Joanna Gilmour accounts for Australia’s deliciously ghoulish nineteenth century criminal portraiture.
Karen Quinlan considers the case of Agnes Goodsir, whose low profile in Australia belies her overseas acclaim.
The story behind two colonial portraits; a lithograph of captain and convict John Knatchbull and newspaper illustration of Robert Lowe, Viscount Sherbrooke.
The tragic tale of Tom Wills, the ‘inventor’ of Australian Rules Football.
George Selth Coppin (1819-1906) comedian, impresario and entrepreneur, was a driving force of the early Australian theatre.
Alison Weir explores the National Portrait Gallery, London and the BP Portrait Award to find what makes a good painted portrait - past and present.
Joanna Gilmour discusses the role of the carte de visite in portraiture’s democratisation, and its harnessing by Victoria, the world’s first media monarch.
John Singer Sargent: a painter at the vanguard of contemporary movements in music, literature and theatre.
Penelope Grist reminisces about the halcyon days of a print icon, before the infusion of the internet’s shades of grey.
Joanna Gilmour examines the prolific output of Charles Balthazar Julien Févret de Saint-Mémin, and discovers the risk of taking a portrait at face value.
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