Download This edition of the Quarterly Bulletin of the National Gallery of Victoria includes an introduction by Director Daryl Lindsay and discussion of the following works: Dancing girls and musicians,…
Download This edition of the Quarterly Bulletin of the National Gallery of Victoria includes discussion of the following works: Self-portrait by George Lambert; The poultry yard, late 17th century, by…
A recent acquisition of watercolours and drawings by Georgiana McCrae (1804–90), Louisa Anne Meredith (1812–95) and Edward La Trobe Bateman (18157–97) has greatly enriched the National Gallery of Victoria’s collection of works…
The coloured copy of William Blake’s set of engravings for Edward Young’s Night Thoughts (1797), recently acquired by the National Gallery of Victoria, is one of the most interesting so far described
Essential reasons for the extraordinary development of Dutch painting during the 17th century, according to Johan Huizinga, were ‘the intense enjoyment of shapes and objects, the unshakeable faith in the reality and…
A work which has remained in storage at the National Gallery of Victoria for many years is the small panel called Les jaloux (The jealous ones) 496/2 (fi
The study of the minor Flemish masters of the end of the 15th century has progressed considerably in recent years
The earliest, and certainly one of the most intriguing, nineteenth-century Australian photographs in the National Gallery of Victoria’s collection is a daguerreotype of three Victorian Aborigines taken by Dougla
The National Gallery of Victoria holds in its collection a fine impression of The poet (fig
The mid-nineteenth-century English artists known as the Pre-Raphaelites are represented in the collection of the National Gallery of Victoria by a group of important paintings and works on paper.
Marshall Claxton’s painting An emigrant’s thoughts of home (1859) (
This edition of the Art Bulletin of Victoria 33 features essays that examine a wide range of works from the NGV’s collectio
The eighty-five-year-old magistrate is shown without the stiff formality of many dogal portraits, almost as though he was ready to converse with the viewer.1 Ε. Pillsbury &
A knowledge of the techniques and materials used by Frederick McCubbin throughout his career, together with a careful examination of the artist’s paintings, reveals McCubbin’s late work to be as technically complex…
In 1891 and 1892 the National Gallery of Victoria, then an institution barely thirty years old, purchased a group of sixty-four original old master and nineteenth-century engravings and etching