Michael Desmond explores what makes a portrait subject significant.
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.
Dr Chistopher Chapman discusses the portrait of Australian author Christos Tsiolkas taken by John Tsiavis.
Angus Trumble ponders the many faces of William Bligh.
Sarah Engledow reflects on the shared life and writing of Dorothy Porter and Andrea Goldsmith.
Dr Sarah Engledow discusses Quentin Jones's photograph of Australian author Tim Winton.
Djon Mundine OAM brings poignant memory and context to Martin van der Wal’s 1986 portrait photographs of storied Aboriginal artists.
The exhibition Portraits for Posterity celebrates gifts to the Gallery, of purchases made with donated funds, and testifies to the generosity and community spirit of Australians.
Michelle Fracaro describes Lionel Lindsay's woodcut The Jester (self-portrait).
Joanna Gilmour examines the prolific output of Charles Balthazar Julien Févret de Saint-Mémin, and discovers the risk of taking a portrait at face value.
Diana O’Neil on Noel Counihan’s vivid 1971 portrait of Alan Marshall.
The name of Florence Broadhurst, one of Australia’s most significant wallpaper and textile designers, is now firmly cemented in the canon of Australian art and design.
Joanna Gilmour explores the stories behind the ninteenth-century carte de visites of bushrangers Frank Gardiner and Fred Lowry.
Christopher Chapman highlights the inaugural hang of the new National Portrait Gallery building which opened in December 2008.
George Selth Coppin (1819-1906) comedian, impresario and entrepreneur, was a driving force of the early Australian theatre.
NPPP judge Robert Cook provides irreverent insight into this year’s fare, and having to be a bit judgemental.