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Peter Wegner's approach to portraiture could be considered a visual record of the rapport, the dynamic space between artist and subject.

Eric Smith describes the agony and finally the ecstasy of winning the 1982 Archibald Prize with the portrait of Peter Sculthorpe.

The story behind Rick Amor's portrait of Professor Peter Doherty.

The Portrait Gallery's paintings of two poets, Les Murray and Peter Porter, demonstrate two very different artists' responses to the challenge of representing more than usually sensitive and imaginative men.

The National Portrait Gallery has acquired an evocative depiction of soldier Peter Cosgrove by the Victorian-based painter, printmaker and sculptor Rick Amor.

Peter Wilmoth’s boy-journalist toolkit for antagonising an Australian political giant.

Olegas Truchanas and Peter Dombrovskis, photographers and conservationists, shared a love of photography and exploring wilderness areas of Tasmania.

Magda Keaney explores the symbolism in eX de Medici's portrait of Midnight Oil.

Peter Jeffrey trips the hound nostalgic.

The complex connections between four creative Australians; Patrick White, Sidney Nolan, Robert Helpmann and Peter Sculthorpe.

Aimee Board ventures within and beyond to consider two remarkable new Gallery acquisitions.

Dr Sarah Engledow examines a number of figures in the collection of the National Portrait Gallery who were pioneers or substantial supporters of the seminal Australian environmental campaigns of the early 1970s and 1980s.

Dr Sarah Engledow explores the portraits of writers held in the National Portrait Gallery's collection.

Peter Brew-Bevan discusses two experiences where his plans for his portraits produced surprising results.

For me, swimming was particularly special because it was the only sport that I could participate in as a kid where I could take my prosthetic leg off, jump in the water, and I could be the same as all the other kids.

A reflection on the National Portrait Gallery's first four years.