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.
The life of William Bligh offers up a handful of the most remarkable episodes in the history of Britain’s eighteenth and early nineteenth-century maritime empire.
Desperately seeking Woolner medallions
To celebrate his family bicentenary, Malcolm Robertson looks at the portraiture legacy left by his ancestors.
Just now we pause to mark the centenary of ANZAC, the day when, together with British, other imperial and allied forces, the Australian and New Zealand Army Corps landed at Gallipoli at the start of the ill-starred Dardanelles campaign.
When did notions of very fine and very like become separate qualities of a portrait? And what happens to 'very like' in the age of photographic portraiture?
From infamous bushranger to oyster shop display, curator Jo Gilmour explores the life of George Melville.
Portraits can render honour to remarkable men and women, but there are other ways.
I have been reading systematically through the ads in the earliest issues of the Sydney Gazette and New South Wales Advertiser, such a rich vein of information about certain aspects of daily life in Regency Sydney.
In their own words lead researcher Louise Maher on the novel project that lets the Gallery’s portraits speak for themselves.
James McCabe provides proof that hanging wasn’t necessarily a fate reserved for the perpetrators of murder and other deeds of darkest hue.
Bushranger Ben Hall and his cronies held around 40 people hostage in a pub north-west of Goulburn, telling their captives ‘don’t be alarmed; we only came here for a bit of fun’.
The long life and few words of a vice-regal cockatoo
Faith Stellmaker shares pioneering artist and restaurateur Mirka Mora’s lasting legacy on Melbourne’s art, dining and culture.
Just after 10.00 o'clock on 3 December 1879, four prisoners were brought from their cells at Darlinghurst Gaol and placed in the dock of a courtroom heaving with agitated spectators
Inga Walton sheds light on a portraiture collection usually only seen by students and teachers at Melbourne University.
Penelope Grist explores the interplay between medicine and portraiture in Vic McEwan’s Face to Face: The New Normal.
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