From infamous bushranger to oyster shop display, curator Jo Gilmour explores the life of George Melville.
The Chairman, Board, Director and all the staff of the National Portrait Gallery mourn the loss of our Benefactor, Mary Isabel Murphy.
On the day before the Hon. E. G. Whitlam, AC, QC, died last month, at the great age of 98, there were seven former prime ministers of Australia still living, plus the incumbent Mr. Abbott – eight in all.
Queen Elizabeth II is now the longest-reigning British sovereign
Bushranger Ben Hall and his cronies held around 40 people hostage in a pub north-west of Goulburn, telling their captives ‘don’t be alarmed; we only came here for a bit of fun’.
Just now we pause to mark the centenary of ANZAC, the day when, together with British, other imperial and allied forces, the Australian and New Zealand Army Corps landed at Gallipoli at the start of the ill-starred Dardanelles campaign.
Desperately seeking Woolner medallions
Just after 10.00 o'clock on 3 December 1879, four prisoners were brought from their cells at Darlinghurst Gaol and placed in the dock of a courtroom heaving with agitated spectators
The caricaturist and engraver James Gillray's biting satires about Sir Joseph Banks.
Tennyson's Enoch Arden was inspired by a story that Thomas Woolner passed on to him – but whose story and of whom?
"Coo-ey, Coo-ey, Coo-ey, Coo-ey—Love has caught the strain, Coo-ey, Coo-ey, Coo-ey, Coo-ey—it whispers back again." The “Australian lady” who composed these fruity lyrics was none other than Desda— Jane Davies, sometime Messiter (née Price) of Leddicott, Lavender Bay.
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.”
When did notions of very fine and very like become separate qualities of a portrait? And what happens to 'very like' in the age of photographic portraiture?
Where do we draw a line between the personal and the historical? Although she died in Melbourne in 1975, when I was not quite eleven years old, I have the vividest memories of my maternal grandmother Helen Borthwick.
To celebrate his family bicentenary, Malcolm Robertson looks at the portraiture legacy left by his ancestors.
Dr Helen Nugent AO, Chairman, National Portrait Gallery at the opening of 20/20: Celebrating twenty years with twenty new portrait commissions.