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Alistair McGhie writes about the portraits of three of Australia's top professional cyclists: Cadel Evans, Stuart O'Grady and Robbie McEwen painted by Matthys Gerber.
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.
Andrew Sayers asks whether a portrait can truly be the examination of a life.
A new light installation by Jonathan Jones reflects on the importance of community through the lens of his Wiradjuri and Kamilaroi heritage, whilst also acting as a prompt for gallery visitors to maintain social distancing.
Michael Desmond explores the portraiture of Francis Bacon and Lucian Freud.
Close contemporaries, Thea Proctor, Margaret Preston and Grace Cossington Smith were frequently sources of inspiration and irritation to each other.
To celebrate his family bicentenary, Malcolm Robertson looks at the portraiture legacy left by his ancestors.
The exhibition Portraits for Posterity celebrates gifts to the Gallery, of purchases made with donated funds, and testifies to the generosity and community spirit of Australians.
Henry Mundy's portraits flesh out notions of propriety and good taste in a convict colony.
At the time of Herra Pahlasari’s birth in 1978, her academic parents were living in Canberra.
Dr Helen Nugent AO, Chairman, National Portrait Gallery at the opening of 20/20: Celebrating twenty years with twenty new portrait commissions.
David Hansen’s tribute to his close friend, prince of words and former National Portrait Gallery director, the late Angus Trumble.
Michael Desmond explores the complex portrait of Dr Bob Brown by Harold 'The Kangaroo' Thornton.
Traversing paint and pixels, Inga Walton examines portraits of select women in Tudors to Windsors: British Royal Portraits.
Joanna Gilmour explores the enticing urban shadows cast by artists Martin Lewis and Edward Hopper.