Claire Roberts interviews Swiss art collector Uli Sigg.
The portrait of Ian Roberts by Ross Watson.
This edited version of a speech by Andrew Sayers examines some of the antecedents of the National Portrait Gallery and set out the ideas behind the modern Gallery and its collection.
Dr. Sarah Engledow discovers the amazing life of Ms. Hilda Spong, little remembered star of the stage, who was captured in a portrait by Tom Roberts.
Sarah Engledow is seduced by the portraits and the connections between the artists and their subjects in the exhibition Impressions: Painting light and life.
Peter Wilmoth’s boy-journalist toolkit for antagonising an Australian political giant.
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.
Peter Jeffrey trips the hound nostalgic.
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.
Magda Keaney explores the symbolism in eX de Medici's portrait of Midnight Oil.
Olegas Truchanas and Peter Dombrovskis, photographers and conservationists, shared a love of photography and exploring wilderness areas of Tasmania.
The story behind Rick Amor's portrait of Professor Peter Doherty.
The National Portrait Gallery has acquired an evocative depiction of soldier Peter Cosgrove by the Victorian-based painter, printmaker and sculptor Rick Amor.
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.
