Angus Trumble salutes the glorious portraiture of Sir Thomas Lawrence.
Australia's former Cultural Attache to the USA, Ron Ramsey, describes the mood at the opening week of the revitalised American National Portrait Gallery.
Anne Sanders writes about the exhibitions Victoria & Albert: Art & Love on display at the Queen's Gallery, Buckingham Palace and the retrospective of Sir Thomas Lawrence at the National Portrait Gallery, London.
Joanna Gilmour travels through time to explore the National Portrait Gallery London’s masterpieces in Shakespeare to Winehouse.
Celebrating a new painted portrait of Joseph Banks, Sarah Engledow spins a yarn of the naturalist, the first kangaroo in France and Don, a Spanish ram.
In focussing on the importance of gifts in the building of the collection, prominence must be given to the most spectacular of the National Portrait Gallery's acquisitions; the portrait of Captain James Cook RN by John Webber R.A.
Sir Sidney Kidman (1857-1935) is inscribed in Australian legend as the ‘Cattle King’.
Joanna Gilmour profiles Violet Teague, whose sophisticated works hid her originality and non-conformity in plain sight.
The exhibition Aussies all features the ecclectic portrait photography of Rennie Ellis which captures Australian life during the 70s and 80s.
Shipmates for years, James Cook and Joseph Banks each kept a journal but neither man shed light on their relationship.
Christopher Chapman highlights the inaugural hang of the new National Portrait Gallery building which opened in December 2008.
Alison Weir explores the National Portrait Gallery, London and the BP Portrait Award to find what makes a good painted portrait - past and present.
To accompany the exhibition Cecil Beaton: Portraits, held at the NPG in 2005, this article is drawn from Hugo Vickers's authorised biography, Cecil Beaton (1985).
Dempsey’s People curator David Hansen chronicles a research tale replete with serendipity, adventure and Tasmanian tigers.
Representations of the inhabitants of the new world expose the complexities of the colonisers' intentions.
Joanna Gilmour examines the prolific output of Charles Balthazar Julien Févret de Saint-Mémin, and discovers the risk of taking a portrait at face value.