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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.

Revd Dr Robert Walker Skating on Duddingston Loch, c.1795 by Sir Henry Raeburn

Great Scots

Magazine article by Diana O'Neil, 2017

Diana O’Neil samples the tartan treats on offer in the Scottish National Portrait Gallery.

20/20 launch speech

About Face article

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

Mr and Mrs Horace Keats in the

Heartfelt

Magazine article by Dr Sarah Engledow, 2009

The portrait of Janet and Horace Keats with the spirit of the poet Christopher Brennan is brought to life by artist Dora Toovey.

The artist and her family, c. 1854 by Martha Berkeley

Presence and absence

Magazine article by Joanna Gilmour, 2018

The art of Australia’s colonial women painters affords us an invaluable, alternative perspective on the nascent nation-building project.

Face of South Sudan, 2012 by Melanie Faith Dove

NPPP 2013 exhibition essay

General content

Joanna Gilmour, National Photographic Portrait Prize judge and curator, introduces the 2013 Prize.

Yhonnie and Indiana, 2012

Surface tension

Magazine article by Joanna Gilmour, 2013

Joanna Gilmour on the National Photographic Portrait Prize 2013.

Betty Bryant, c. 1939

The life of Bryant

Magazine article by Tenille Hands, 2018

Tenille Hands explores a portrait prize gifted to the National Screen and Sound Archive.

Nannultera, a young cricketer of the Natives' Training Institution, Poonindie , 1854 John Michael Crossland

The catechist and the cricketer

Magazine article by Stephen Valambras Graham, 2021

Stephen Valambras Graham traverses the intriguing socio-political terrain behind two iconic First Nations portraits of the 1850s.

Marilyn Darling AC

Support Crew

Magazine article by Dr Christopher Chapman, 2011

Portraits of philanthropists in the collection honour their contributions to Australia and acknowledge their support of the National Portrait Gallery.

Self portrait

Me Myself I

Magazine article by Andrew Sayers AM, 2001

Andrew Sayers explores the self-portraits created by Australian artist Sidney Nolan.

Robyn Sweaney, 2016 by Mark Mohell

Robyn Sweaney

Explore The Popular Pet Show

Robyn's parents had two terriers, Wuff and Snuff. In spite of Snuff’s ominous name and a couple of close shaves – once, he jumped out of a moving car, and another time, on a long road trip, he was accidentally left behind at a petrol station – he outlived Wuff.

Rupert Murdoch

Corporate Characters

Magazine article by Gillian Raymond, 2005

A collection of thirty-seven caricatures by the artist Joe Greenberg capture the heroes and villians of Australian business in the 1980s.

My father-in-law watering his garden, 1986 by Davida Allen

Lovingly observed

Magazine article by Dr Sarah Engledow, 2009

Sarah Engledow previews the beguiling summer exhibition, Idle hours.

Lauren in Red, 2003

Is the truth of portraiture vested exclusively in likeness?

Magazine article by Michael Desmond, 2006

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

Helena Rubinstein in a red brocade Balenciaga gown

Study in scarlet

Magazine article by Angus Trumble, 2018

Angus Trumble reflects on the force of nature that was Helena Rubinstein.

The sisters, 1904

Beguiling impressions

Magazine article by Dr Sarah Engledow, 2012

Sarah Engledow is seduced by the portraits and the connections between the artists and their subjects in the exhibition Impressions: Painting light and life.

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Canberra, ACT 2600, Australia

Phone +61 2 6102 7000
Fax +61 2 6102 7001
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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