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Black tie or wombat: How formal should I go?

Michael Desmond discusses the portrait of Senator Neville Bonner by Robert Campbell Jnr.

Everybody, look serious

Dr Sarah Engledow, National Photographic Portrait Prize judge and curator, introduces the 2014 Prize.

Stubbs and the horse

One of the chief aims of George Stubbs, 1724–1806, the late Judy Egerton’s great 1984–85 exhibition at the Tate Gallery was to provide an eloquent rebuttal to Josiah Wedgwood’s famous remark of 1780: “Noboby suspects Mr Stubs [sic] of painting anything but horses & lions, or dogs & tigers.”

Portrait Donors

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.

All dressed up

Jane Raffan asks do clothes make the portrait, and can the same work with a new title fetch a better price?

The Royal she

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

The more things change...

Dr Sarah Engledow, National Photographic Portrait Prize judge and curator, introduces the 2017 Prize.

A feast of friends

John Singer Sargent: a painter at the vanguard of contemporary movements in music, literature and theatre.

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.