NGV International | 22 May – 4 October 2020 | Free entry Camille Henrot, the French-born, New York City-based contemporary artist, will be celebrated in an Australian-first survey of works…

It is an enchanting scene.

Japan in 1920s and 1930s was a time when traditional art and aesthetics merged with European life and culture.

EXHIBITION TIMES: 12–22 MAR, TUE–FRI, 10AM–5PM & SAT, 1–5PM OPENING: SAT 14 MAR, 2PM A&A is the collaboration of two practitioners from completely different disciplines and cultures: Australian industrial designer…

Saturday 11 – Sunday 19 January 2020 | NGV International and The Ian Potter Centre: NGV Australia | FREE Inspired by the NGV’s summer exhibitions, Keith Haring | Jean-Michel Basquiat:…

Dreams are incredibly powerful. I think only in dreams are we free and naked.

NGV International | 5 June – 4 October 2020 | Admission fees apply  The Melbourne Winter Masterpieces series at the National Gallery of Victoria will unveil Pierre Bonnard, an exclusive…

Choose from two contemporary yet elegant wedding reception venues. These beautiful and unique spaces will impress guests.

This program is fully booked. To be added to the waitlist, please email your full name, contact number and number of guests to programs@ngv.vic.gov

The Great Hall is a large capacity function area famous for its stunning stained glass ceiling by Australian artist Leonard French.

Exclusively catered by Restaurant Associates The National Gallery of Victoria was founded in 1861, and is the oldest and most visited public art gallery in Australia.

Michael Andrews, a famously slow craftsman, who produced only a handful of paintings compared to fellow artists of his era, is renowned nonetheless as one of the leading figures in…

Explore the evolution of redwares, a form of earthenware pottery, from their humblest beginnings in antiquity, from bricks to terra sigillata, through the Yixing wares of China, to the cult…

Every picture tells a story and with 75,000 artworks in its care, the NGV Collection is a limitless well of histories, perspectives and shared experiences.

Philip Connard’s Helen and Jane, 1913, a charming study of the artist’s two daughters, did not please everyone on its arrival in Melbourne in 1933. ‘The Connard is not good’, declared The Australasian on 3 March 1933. ‘It is unlovely in flesh colours, and one must feel sorry for “Jane”, who stands behind “Helen” in “Helen and Jane”. She may be in shade, but her grey pallor indicates the necessity for a hospital. The picture has decorative qualities and may please many