Photographed 35 years apart, these two portraits offer both a timeline of, and thematic thread for, Maria (Polly) Cutmore’s life – from a young woman to a respected Gomeroi Elder.
The National Portrait Gallery acquired a beguiling silhouette group portrait by Samuel Metford, an English artist who spent periods of his working life in America.
In conversation with Aretha Brown, Pieter Roelofs on Vermeer, humanoid robots, the nationwide search for Archibald portraits, and 25 years of collecting at the National Portrait Gallery.
Angus Trumble reveals the complex technical mastery behind a striking recent acquisition, Henry Bone’s enamel portrait of William Manning.
Family affections are preserved in a fine selection of intimate portraits.
George Selth Coppin (1819-1906) comedian, impresario and entrepreneur, was a driving force of the early Australian theatre.
Sandra Bruce gazes on love and the portrait through Australian Love Stories’ multi-faceted prism.
The art of Australia’s colonial women painters affords us an invaluable, alternative perspective on the nascent nation-building project.
Joanna Gilmour on Tom Durkin playing with Melbourne's manhood.
John Elderfield lauds the portraiture of Paul Cézanne, the artist described by both Matisse and Picasso as ‘the father of us all’.
Michael Riley’s early portraits by Amanda Rowell.
Joanna Gilmour describes how colonial portraitists found the perfect market among social status seeking Sydneysiders.
Joanna Gilmour reveals love’s more intense manifestations in the tale of Lord Kenelm and Venetia Digby.
2019 National Photographic Portrait Prize judge Anne O’Hehir looks beneath the surface of this year’s entries.
Vanity Fair Editor David Friend describes how the rebirth of the magazine sated our desire for access into the lives of celebrities and set the standard for the new era of portrait photography.