The National Portrait Gallery acknowledges the Traditional Custodians of Country throughout Australia and recognises the continuing connection to lands, waters and communities. We pay our respect to Aboriginal and Torres Strait Islander cultures and to Elders both past and present.
Aboriginal and Torres Strait Islander viewers are warned that this website contains images of deceased persons.
It is not every day that a national gallery turns its walls over to the animal companions that bring unconditional love and joy to their owners but this summer we have opened the doors to 15 contemporary artists with very different ways of depicting our furry, feathered and scaled pets.
Curator, Sarah Engledow, introduces the artists and the animals in The Popular Pet Show.
Dr Sarah Engledow, National Photographic Portrait Prize judge and curator, introduces the 2011 Prize.
Dr Sarah Engledow, National Photographic Portrait Prize judge and curator, introduces the 2014 Prize.
Dr Sarah Engledow, National Photographic Portrait Prize judge and curator, introduces the 2017 Prize.
Sarah Engledow explores the history of the prime ministers and artists featured in the exhibition.
With a mum who was married to a tradie, you’d think it a fair chance that the baby Jesus would have grown up with a dog in the house.
One night in the spring of 1970 in an old house in Whale Beach, north of Sydney, John Witzig, Albe Falzon and David Elfick put together the first issue of Tracks, playing Neil Young’s album Harvest over and over again as they pasted up galleys of type.
Jude Rae’s high reputation rests on her austere, cerebral still lifes of gas canisters, electric jugs and jars, which she groups and rearranges for paintings that catch their difficult curves and reflections. Her self-portrait’s likewise thoughtfully composed.
Sarah Engledow chronicles Rick Amor's work and accomplishments in this extensive essay in conjunction with the exhibition Rick Amor: 21 Portraits.
Sarah Engledow looks at three decades of Nicholas Harding's portraiture.
Over the years the young Nicholas Harding got his hands on various mice and guinea pigs, but they served mainly to illustrate the concept of mortality.
Fiona aims to create a dangerous situation with a flood of water on the paper, forcing each work to the point where it can fail, and then rescuing it.
It’s a matter beyond dispute that in the entire history of Australian art, it’s Noel McKenna who’s painted the liveliest rendition of the head of a Chihuahua.
I like talking about Drendel’s pictures as if they expressed dreams of my own.
Basil grew into a speckled beauty – a long-legged leaper and an exceptionally vocal dog, with a great register of sounds, ascending in shock value from a whimper to a growl to a bark to a yelp that’s a violation of the ears.
The National Portrait Gallery acknowledges the Traditional Custodians of Country throughout Australia and recognises the continuing connection to lands, waters and communities. We pay our respect to Aboriginal and Torres Strait Islander cultures and to Elders past and present. We respectfully advise that this site includes works by, images of, names of, voices of and references to deceased people.
This website comprises and contains copyrighted materials and works. Copyright in all materials and/or works comprising or contained within this website remains with the National Portrait Gallery and other copyright owners as specified.
The National Portrait Gallery respects the artistic and intellectual property rights of others. The use of images of works of art reproduced on this website and all other content may be restricted under the Australian Copyright Act 1968 (Cth). Requests for a reproduction of a work of art or other content can be made through a Reproduction request. For further information please contact NPG Copyright.
The National Portrait Gallery is an Australian Government Agency