Anthony Browell reminisces about meeting Rose Lindsay, the wife of Australian artist Norman Lindsay.
Michelle Fracaro describes Lionel Lindsay's woodcut The Jester (self-portrait).
Pieter Roelofs, Head of Painting and Sculpture at Rijksmuseum and co-curator of Vermeer, delves into the largest-ever exhibition of the master artist.
Gael Newton delves into the life and art of renowned Australian photographer, Max Dupain.
Jennifer Coombes explores the lush images of Picnic at Hanging Rock, featuring Anne-Louise Lambert’s Miranda, the face of the film.
Karen Vickery delights in a thespian thread of the Australian yarn.
Joanna Gilmour writes about the portraiture of the colonial artist William Nicholas.
Magda Keaney explores the symbolism in eX de Medici's portrait of Midnight Oil.
Dr. Sarah Engledow discusses a collection of drawings and prints by the Victorian artist Rick Amor acquired in 2005.
Penelope Grist speaks to Robert McFarlane about shooting for the stars.
Harold Cazneaux's portraits of influential Sydneysiders included Margaret Preston and Ethel Turner, both important figures in the development of ideas about Australian identity and culture.
Traversing paint and pixels, Inga Walton examines portraits of select women in Tudors to Windsors: British Royal Portraits.
Michael Desmond profiles a handful of the entrants in first National Photographic Portrait Prize and notes emerging themes and categories.
In his speech launching the new National Portrait Gallery building on 3 December 2008, then Prime Minister Kevin Rudd set the Gallery in a national and historical context.
Joanna Gilmour travels through time to explore the National Portrait Gallery London’s masterpieces in Shakespeare to Winehouse.
Inga Walton on the brief but brilliant life of Hugh Ramsay.