The caricaturist and engraver James Gillray's biting satires about Sir Joseph Banks.
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.
The National Portrait Gallery mourns the loss of one our most generous benefactors, Robert Oatley AO.
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.
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.
Phoebe Lupton profiles artist Kate Beynon, whose contemplative self portrait features in Archie 100: A Century of the Archibald Prize.
Desperately seeking Woolner medallions
It may seem an odd thing to do at one’s leisure on a beautiful tropical island, but I spent much of my midwinter break a few weeks ago re-reading Bleak House.
Penelope Grist explores the interplay between medicine and portraiture in Vic McEwan’s Face to Face: The New Normal.
Nathan Faiman delves into the rich life story and legacy of Alan Goldberg.
Angus' initial perception of Uluru shifts, as he comes to see it as central to the entire order of Anangu life.
This is my last Trumbology before, in a little more than a week from now, I pass to my successor Karen Quinlan the precious baton of the Directorship of the National Portrait Gallery.
