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Eccleston Du Faur, 1911

Gift of the New South Wales National Parks and Wildlife Service 2020

Off her own bat

Joanna Gilmour profiles Violet Teague, whose sophisticated works hid her originality and non-conformity in plain sight.

Mary Chomley, 1909

Purchased with the assistance of funds provided by Jillian Broadbent AC 2021

The Cosmopolitans

Spanning the 1880s to the 1930s, this collection display celebrates the innovations in art – and life – introduced by the generation of Australians who travelled to London and Paris for experience and inspiration in the decades either side of 1900.

The Cosmopolitans

Spanning the 1880s to the 1930s, this collection display celebrates the innovations in art – and life – introduced by the generation of Australians who travelled to London and Paris for experience and inspiration in the decades either side of 1900.

Darcey Bussell

Finding Mrs Frisby

Robyn Sweaney's quiet Violet obsession.

Portrait 68

Rebecca Ray on Robert Fielding’s Mayatjara series, Jennifer Higgie on Alice Neel, Elspeth Pitt chats with Yvette Coppersmith, Vincent Fantauzzo on virtual sittings with Hugh Jackman and more.

Ngarranggarni

The third row of paintings come from Ngarranggarni (Dreaming).

Shirley Purdie

Born: 1947, Gilbun – Mabel Downs Station, WA
Works: Warmun, WA

Portrait Paintings by Matthew Perceval

From 1967 until 1981 Matthew Perceval lived and painted in France and during those years produced a large body of portrait paintings.

Storytelling

The fourth row of paintings interweave Ngarranggarni, memories, relationships and Country.

So Fine

This exhibition features new works from ten women artists reinterpreting and reimagining elements of Australian history, enriching the contemporary narrative around Australia’s history and biography, reflecting the tradition of storytelling in our country.

Memories

The second row of paintings recall stories relating to specific sites, experiences and activities.

Storied portrait

Emily Casey takes in Shirley Purdie’s remarkable self-portrait, Ngalim-Ngalimbooroo Ngagenybe.

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.

Women make history

Jennifer Higgie uncovers the intriguing stories behind portraits of women by women in the National Portrait Gallery’s collection.

Painters' paradise

Andrew Sayers feels the warmth in the paintings Matthew Perceval made while the sun shone in southern France.

Skin names

The first row of paintings depict stories relating to kinship, introducing significant women relatives.

A potpourri of portraits

Archie 100 curator (and detective) Natalie Wilson’s nationwide search for Archibald portraits unearthed the fascinating stories behind some long-lost treasures.

Through thick and thin

Sarah Engledow likes the manifold mediums of Nicholas Harding’s portraiture.

Ken Done

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.

Money and swat

Andrew Sayers discusses the real cost of George Lambert's Self portrait with gladioli 1922.

Lucy Culliton

Most well-regarded pictures of chickens show them dead. A reliable way to tell if a chicken in a painting is dead is to check if it’s hanging upside down, because unlike, say, cockatoos, chickens don’t practise inversion for enjoyment in life.

Flash mob

Sarah Engledow trains her exacting lens on the nine photographs from 20/20.

Nicholas Harding

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. 

Nicholas Harding: 28 Portraits

Sarah Engledow looks at three decades of Nicholas Harding's portraiture.

Generous Janice

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

The personal and the historical

Where do we draw a line between the personal and the historical? Although she died in Melbourne in 1975, when I was not quite eleven years old, I have the vividest memories of my maternal grandmother Helen Borthwick.

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.

Anangu landscape learning

Angus' initial perception of Uluru shifts, as he comes to see it as central to the entire order of Anangu life.