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Collection: National Portrait Gallery
Gift of Lady Primrose Potter 2006
Donated through the Australian Government's Cultural Gifts Program
Gift of the Margaret Olley Art Trust 2002
The Hon Bill Hayden AC (1933‒2023) was Governor-General of Australia from 1989 to 1996 and Leader of the Opposition from 1977 to 1983.
1 portrait in the collection
Purchased 2015
Open Air is an exhibition of portraits of Australians in environments of particular significance to them.
Members of the Board, Foundation and staff of the National Portrait Gallery are deeply saddened by the sudden passing of Angus Trumble.
This sample of 56 photographs takes in some of the smallest photographs we own and some of the largest, some of the earliest and some of the most recent, as well as multiple photographic processes from daguerreotypes to digital media.
In 2020 the Annual Appeal was focussed on Sally Robinson's remarkable portrait of author Tim Winton.
Seventeen of Australia’s thirty prime ministers to date are represented in the contrasting sizes, moods and mediums of these portraits.
Tim Burstall (1927-2004) set up Eltham Films in the early 1950s, when the local film industry was moribund.
2 portraits in the collection
Collection: National Portrait Gallery
Gift of the artist 2016
Rick Amor, noblest yet most unaffected of contemporary Australian portraitists, is also a painter of enigmatic, ominous landscapes, seascapes and cityscapes that haunt the viewer like dreams, dimly-recalled.
The complex connections between four creative Australians; Patrick White, Sidney Nolan, Robert Helpmann and Peter Sculthorpe.
Nothing quite prepares the first-time visitor to Cambodia for the scale and grandeur of the monuments of the ancient Khmer civilisation of Angkor.
Commissioned with funds provided by Jim and Barbara Higgins, Sir Roderick Carnegie AC, Rupert Myer AO and Annabel Myer, Louise and Martyn Myer Foundation, Peter and Ruth McMullin, Diana Carlton, Professor Derek Denton AC, Harold Mitchell AC, Peter Jopling AM KC, Andrew and Liz Mackenzie, Patricia Patten, Tamie Fraser AO, Bruce Parncutt and Robin Campbell, Lauraine Diggins, Steven Skala AO and Lousje Skala 2017
When did notions of very fine and very like become separate qualities of a portrait? And what happens to 'very like' in the age of photographic portraiture?