Sarah Engledow ponders the divergent legacies of Messrs Kendall and Lawson.
Andrew Sayers asks whether a portrait can truly be the examination of a life.
Henry Mundy's portraits flesh out notions of propriety and good taste in a convict colony.
This issue of Portrait Magazine feature Lucian Frued, John Witzig, colonial death portraits, William Kinghorne, Henry Crock, and more.
Emma Kindred looks at the career of Joan Ross, whose work subverts colonial imagery and its legacy with the clash of fluorescent yellow.
An exhibition devoted to Hans Holbein's English commissions shows the portraitist bringing across the Channel new technical developments in art - with a dazzling facility.
The art of Australia’s colonial women painters affords us an invaluable, alternative perspective on the nascent nation-building project.
In March 2003 Magda Keaney travelled to London to join the photography section of the Victoria & Albert Museum for three months.
Joanna Gilmour explores the life and times of one of Melbourne's early socialites, Jessie Eyre Williams.
Alison Weir explores the National Portrait Gallery, London and the BP Portrait Award to find what makes a good painted portrait - past and present.
Angus Trumble reveals the complex technical mastery behind a striking recent acquisition, Henry Bone’s enamel portrait of William Manning.
Sir Sidney Kidman (1857-1935) is inscribed in Australian legend as the ‘Cattle King’.
Carrie Kibbler looks at how portraiture fits into the Australian Artbank Collection.
Andrew Sayers discusses the portrait of Dr Joan Croll AO by the Australian artist John Brack.
Michelle Fracaro describes Lionel Lindsay's woodcut The Jester (self-portrait).