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Marion Borgelt, 2001

Gift of Marion Borgelt 2022. Donated through the Australian Government's Cultural Gifts Program.

Simon Tedeschi unplugged, 2002

Gift of Tim Olsen 2010. Donated through the Australian Government's Cultural Gifts Program.

Margaret Seares, 2018

Commissioned with funds provided by the Sid and Fiona Myer Family Foundation 2018

First Conservative Whip (Sir Alexander Fuller-Acland-Hood Bart MP), 1903

Gift of Ronald Walker 2002

The Aboriginal community of Lake Tyers, Gippsland, c. 1890

Purchased 2010

Margaret Seares, 2018

Commissioned with funds provided by the Sid and Fiona Myer Family Foundation 2018

Time and Line

Encompassing the 1820s to the 2020s, Time and Line showcases the depth and extent of our drawing collection.

123 Faces

Magda Keaney examines the 123 Faces project by Simon Obarzanek.

Play, 2010

Dissections

This display sets two impressive portraits from the collection into direct dialogue: Sam Jinks’ sculptural self portrait and Nick Mourtzakis’ painted portrait of David Chalmers, along with related maquette and sketches.Together they explore physical and psychological manifestations of the strata of self-hood.

National Portrait Gallery unveils twenty new portrait commissions to celebrate twenty years

The National Portrait Gallery has unveiled twenty new portrait commissions of Australian leaders and individualists as part of its twentieth birthday celebrations in a new exhibition, 20/20: Celebrating twenty years with twenty new portrait commissions.

Dissections: Layered portraits from the collection is now open

Dissections, showcases the hyper-realist sculptural self-portrait of artist Sam Jinks, Divide, alongside the painted portrait of philosopher David Chalmers by Nick Mourtzakis, which was commissioned by the Gallery in 2011.

National Photographic Portrait Prize 2015

The National Photographic Portrait Prize exhibition is selected from a national field of entries, reflecting the distinctive vision of Australia's aspiring and professional portrait photographers and the unique nature of their subjects.

Jacki Weaver, 2018

Commissioned with funds provided by Marilyn Darling AC 2018

Is the truth of portraiture vested exclusively in likeness?

Curator Michael Desmond introduces the exhibition Truth and Likeness, an investigation of the importance of likeness to portraiture.

Recognition

Originally conceived as an anthropological record, Percy Leason’s powerful 1934 portraits of Victorian Aboriginal people are today considered to be a highlight of 20th century Australian portraiture

Friends

Warwick Baker’s photos of his friends are intimate. They hold a stillness that allows their subjects to be at ease.

Russell Crowe, 1995 (printed 2016)

Collection: National Portrait Gallery
Purchased 2016

Jacki Weaver, 2018

Commissioned with funds provided by Marilyn Darling AC 2018

William Robinson

Unique in the world, perhaps, is a bronze sculpture that fuses the age-old human portrait bronze tradition, and the later genre of the bronze pug figurine: that’d be William Robinson’s Self-portrait with pug.

Agnes enigma

Karen Quinlan considers the case of Agnes Goodsir, whose low profile in Australia belies her overseas acclaim.

Icons

When a portrait communicates determination and individuality as boldly as these do, it has the potential to become an iconic image. For the Gallery’s 20th birthday this display brings together a group contemporary photographic portraits of inspiring women and men.

Nicholas Harding

Nicholas Harding: 28 portraits features paintings of Robert Drewe, John Bell and Hugo Weaving alongside gorgeously coloured recent oil portraits, delicate gouaches and bold ink and charcoal drawings.

Hottie's Snifter to port

Peter Jeffrey trips the hound nostalgic.

Swimming every day

National Photographic Portrait Prize judge Christopher Chapman connects this year’s entries to iconic contemporary american photographers.

Swimming every day

Dr Christopher Chapman, National Photographic Portrait Prize judge and curator, introduces the 2015 Prize.

Time and light

This sample of 56 photographs takes in some of the smallest photographs we own and some of the largest, some of the earliest and some of the most recent, as well as multiple photographic processes from daguerreotypes to digital media.

20/20 launch speech

Dr Helen Nugent AO, Chairman, National Portrait Gallery at the opening of 20/20: Celebrating twenty years with twenty new portrait commissions.

Black and white history

English artist Benjamin Duterrau took up the cause of the Indigenous peoples of Tasmania with his detailed and sympathetic renderings.

Petal to the mettle

Sarah Engledow lauds the very civil service of Dame Helen Blaxland.

Australians in Hollywood

The exhibition Australians in Hollywood celebrated the achievements of Australians in the highly competitive American film industry.

The stately lotus

I spent much of my summer holiday at D’Omah, on the outskirts of Yogyakarta. Lotus and waterlilies sprout in extraordinary profusion in artful ponds amid palms and deep scarlet ginger flowers.

Pop poet

Dr Anne Sanders previews the works in the new focus exhibition Paul Kelly and The Portraits.

Fits of delicacy and despair

Henry Mundy's portraits flesh out notions of propriety and good taste in a convict colony.

Icons and imagery

Alison Weir explores the National Portrait Gallery, London and the BP Portrait Award to find what makes a good painted portrait - past and present.

The real Thea

Long after the portraitist became indifferent to her, and died, a beguiling portrait hung over its subject.

The Royal she

Traversing paint and pixels, Inga Walton examines portraits of select women in Tudors to Windsors: British Royal Portraits.

Generous Janice

Dr Sarah Engledow puts four gifts to the National Portrait Gallery’s Collection in context.

Portraiture in a Bleak House

It may seem an odd thing to do at one’s leisure on a beautiful tropical island, but I spent much of my midwinter break a few weeks ago re-reading Bleak House.

The silent partner

One half of the team that was Eltham Films left scarcely a trace in the written historical record, but survives in a vivid portrait.