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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.

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General information

The Long Awaited, 2008 by Patricia Piccinini

Patricia Piccinini

More about In the flesh artists

Patricia Piccinini was born in Sierra Leone and grew up in Canberra. She received a BFA from the Victorian College of the Arts, Melbourne in 1991. In 1994 she initiated The Basement Project Gallery in Melbourne, which she coordinated until 1996. Her 2003 exhibition We Are Family represented Australia at the 50th Venice Biennale.

Unsettled dogs, 2012 by Sam Jinks

Sam Jinks

More about In the flesh artists

Born in Bendigo, Victoria, Sam Jinks’ work can be found in various public collections that include the Kiran Nader Museum of Art, Dehli, India and the Museo Escultura Figurativa Internacional Contemporaenea (MEFIC), Portugal.

Rose, 2011 by Natasha Bieniek

Natasha Bieniek

More about In the flesh artists

Born in Melbourne, Natasha Bieniek began her formal artistic training at the Victorian College of the Arts in 2002. Bieniek’s When the music’s over (2006) won the Nino Sanciolo Art Prize, a painting scholarship to study at the Accademia d’Arte in Florence, where she learnt the ancient technique of egg tempera.

Walking in Tall Grass, Marion 2, 2011 by Jan Nelson

Jan Nelson

More about In the flesh artists

Jan Nelson was born in Melbourne. She graduated from the Victorian College of the Arts in 1983 and has been exhibited her work in both solo and group exhibitions throughout Australia since that time including at the MCA, Sydney, National Gallery of Victoria, Gallery of Modern Art, Brisbane and the Experimental Art Foundation, Adelaide.

Self portrait

Rick Amor: 21 Portraits

General content

Sarah Engledow chronicles Rick Amor's work and accomplishments in this extensive essay in conjunction with the exhibition Rick Amor: 21 Portraits.

Nat Young, c. 1968 by Albert Falzon

Arcadia media information

Archived media releases 2014

Press releases and image downloads for media.

King Edward VII, 1910 by George Lambert

King Edward Terrace

Behind the street name

Visiting the gallery

King Edward Terrace was named in honour of King Edward VII (1841-1910)

Gordon Darling Hall, National Portrait Gallery

Architecture

Natural light and human proportions – the design by Johnson Pilton Walker

National Portrait Gallery

History

How the National Portrait Gallery and its unique collection came to be

Paul Kelly, 1992 by Wendy McDougall

Paul Kelly and The Portraits media information

Archived media releases 2013

Paul Kelly & The Portraits presents a multifaceted image of the performer over the course of his career.

Face of South Sudan, 2012 by Melanie Faith Dove

Melanie Faith Dove

Finalist interviews

I had been watching Agnes with intrigue, her face and profile were so mesmerizing. On our final day together I pulled her aside and convinced her that she had such an amazing face that I needed to get a photograph for myself. It was very spontaneous in that I decided quickly how it would best look and shot it in only two frames.

The Living Room, 2012 by Janet Tavener

Janet Tavener

Finalist interviews

Mikala is the eldest of my three daughters. I have photographed her on many an occasion. Needless to say we are both extremely at home with the practice.

Lucky Day, 2011 by Nikki Toole

Nikki Toole

NPPP 2012 learning resource

An interview with the photographer.

The Kinghorne

The Kinghorne

aka substantial sideburns extending to the lower jaw, paired with a clean-shaven chin and upper lip – was a standard look for gents in pre-Victorian times.

The Burke

The Burke

A big daddy of a beard; long; bushy; rugged, but not unkempt; typically found on the faces of explorers or bushrangers.

Thomas Woolner

The 1850s to the 1880s

Mo and beard timeline

The restrained and cultivated facial hair fashions evident through the first decades of the 1800s were on the wane by the middle of the century, when hirsute faces became mainstream.

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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