I think the truest representation of someone is a portrait.
Dr Christopher Chapman, curator of Inner Worlds: Portraits & Psychology looks at Albert Tucker's Heidelberg military hospital portraits.
Tony Curran ponders whether our phones can change the course of painting.
Gallery directors Karen Quinlan and Tony Ellwood talk to Penelope Grist about the NPG and NGV collaborative exhibition, Who Are You: Australian Portraiture.
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.
Angus Trumble provides poignant context for Aña Wojak’s portrait of Tony Carden.
Rod McNicol's method and motivation, 19th century Indigenous peoples, Barrie Cassidy on Bob Hawke, five generations of the Kang family from Korea and more.
The Huxleys, National Portrait Gallery London’s masterpieces, Jennifer Higgie on portraits of women by women, Tamara Dean, Bangarra, Glynis Jones on fashion photographers, and NPG/NGV collaboration.
Anne Sanders imbibes Tony Bilson’s gastronomic revolution.
Bob Ellis (1942–2016) was a journalist, columnist, screenwriter, film director, playwright, speechwriter and critic.
James Holloway describes the first portraits you encounter when entering the Scottish National Portrait Gallery.
In March 2003 Magda Keaney travelled to London to join the photography section of the Victoria & Albert Museum for three months.
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.
Lee Tulloch remembers her great friend NIDA-trained actor turned photographer Stuart Campbell.
In February 2003 the National Portrait Gallery Circle of Friends brought Sir Robert Strong to Australia to present a series of lectures entitled The Artists & The Banquet- A History of Dining, which focused on the links between gardens and table decoration from the Renaissance to the Victorian Era.
In her self-portrait, Tracey Moffatt presents herself as her work.