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.
Tara James speaks to Cam Neville about his portrait series, Firefighters.
The caricaturist and engraver James Gillray's biting satires about Sir Joseph Banks.
James McCabe provides proof that hanging wasn’t necessarily a fate reserved for the perpetrators of murder and other deeds of darkest hue.
Desperately seeking Woolner medallions
The National Portrait Gallery mourns the loss of one our most generous benefactors, Robert Oatley AO.
This week it is impossible not to contemplate the ways in which France has touched many Australian lives.
Angus delves into the biographies of two ambitious characters; Sir Stamford Raffles and Sir John Pope-Hennessy.
In recent years I have become fascinated by the so-called Sydney Cove Medallion (1789), a work of art that bridges the 10,000-mile gap between the newly established penal settlement at Port Jackson and the beating heart of Enlightenment England.
To celebrate his family bicentenary, Malcolm Robertson looks at the portraiture legacy left by his ancestors.
The life of William Bligh offers up a handful of the most remarkable episodes in the history of Britain’s eighteenth and early nineteenth-century maritime empire.
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
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?
Last Sunday I had the privilege of appearing at the Canberra Writers’ Festival in conversation with Julia Baird. The subject of our session was Julia’s recent biography, Victoria the Queen: An Intimate Biography of the Woman who Ruled an Empire.
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.
It has been suggested that Sir Thomas Brisbane’s interest in the New South Wales governorship was as attributable to his passion for astronomy as to the desirability of the position as a prestigious career move.
The first index I created was for my first book, and, to my astonishment, that was almost twenty-five years ago.
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