Art with a wow factor.
Was it a marketing stunt or a critique of the market itself?
Eugène Delacroix’s ‘Self-Portrait in a Green Vest’ (1837).
Through his art and his travels, 19th-century French Romantic painter Eugène Delacroix sought to understand the chaos of an era he called 'the century of unbelievable things.'
Detail from Artemisia Gentileschi’s Self-Portrait as Saint Catherine of Alexandria, c. 1616. Her role playing predates by centuries the preoccupations of artists such as Cindy Sherman.
Born into late-16th century Papal Rome, Gentileschi transcended the path of utter obscurity that was the lot of her female peers to become one of the most famous painters of the day.
Visitors look at Blue poles (1952) during its trip to London for an abstract expressionism exhibition in 2016.
The 1973 purchase of Jackson Pollock's abstract expressionist painting – at a record price for the time – was a controversial moment in Australian art. Was it worth it?
Detail from Brett Whiteley.
Sacred baboon 1975
brush and ink, wood stain, watercolour, gouache and cut printed colour illustration on cardboard 81.6 x 67.6 cm
National Gallery of Victoria, Melbourne Purchased, 1978 (A23-1978) © Wendy Whiteley
Throughout his life, Brett Whiteley made images of apes and monkeys. He found much in their character and physiognomy to identify with.
Mirka Mora sitting surrounded by her colourful doll and soft sculpture creations and tapestries in 1978.
Courtesy of the Rennie Ellis Photographic Archive, State Library of Victoria.
Mirka Mora survived the second world war to carve out a unique place for herself in the Australian art world. Over six decades, her creativity was legendary.
Charles Blackman posed next to his work in Sydney in 2013.
Charles Blackman forged an urbanised image of Australia that for most, was more familiar than the mythic landscapes of Sidney Nolan or Arthur Boyd. Yet though familiar, it remains uncomfortable.
Sidney Nolan’s Steve Hart dressed as a girl 1947 from the Ned Kelly series 1946 – 1947 enamel paint on composition board 90.60 x 121.10 cm.
Gift of Sunday Reed 1977 National Gallery of Australia
As a bushranger in the Kelly gang, Steve Hart took to dressing as a woman and riding side-saddle to avoid detection. Sidney Nolan's painting captures Hart's adolescent cockiness, bravery, and foolhardy bluster.
Jon McNauhgton’s 2017 painting ‘You Are Not Forgotten.’
McNaughton's works elicit giddy mockery from the left and effusive love from the right. Why do they resonate so strongly?
It’s been argued the Impressionists were short sighted.
The Boulevard Montmartre at Night, Camille Pissarro/Wikimedia Commons
Disease and disorders can affect how we see. Can the images in painted artworks tell us something about the state of an artist's vision?
Former President Bill Clinton promotes ‘The President is Missing,’ the new novel he wrote with James Patterson, in New York.
AP Photo/Bebeto Matthews
What happens to motivated, determined and egotistical men when they are forced to abandon the White House? As John Quincy Adams once said, 'There is nothing more pathetic in life than a former president.'
Artist Nyapanyapa Yunipingu is assisted by art centre worker Jeremy Cloake at Buku-Larrnngay Art Centre,Yirrkala.
White people hugely influence the Aboriginal art world – but that can be a good thing, according to the artists.
Yvette Coppersmith, Self-portrait after George Lambert, oil and acrylic on linen, 132 x 112 cm.
© the artist Photo: AGNSW, Jenni Carter
It is some years since such a classical work as Yvette Coppersmith's has won the Archibald.
Hers is a most intelligent self-portrait in the very mannered style of George Lambert’s work.
Detail from Tom Polo.
‘I once thought I’d do anything for you
acrylic on canvas
152.5 x 101.5cm
© the artist Photo: AGNSW, Felicity Jenkins
The lively reconfiguring of the Archibald, Wynne and Sulman exhibitions means it is harder to work out which paintings the judges are considering as potential winners.
Turkish painter Esref Armagan uses colour and perspective that he has never seen.
A self-portrait of the artist Thomas Eakins, one of the most celebrated painters in American history.
National Academy Museum, New York
If we’re going to grasp what makes Eakins' art so tragically powerful, we should be honest about the man who made them – and the impulses that drove him.
Katharina Grosse Untitled Trumpet, 2015, All the World’s Futures, 56th Art Biennale, La Biennale di Venezia 09.05. - 02.11.2015 acrylic on wall, floor, and various objects, 660 x 2,100 x 1,300 cm / 259 ¾ x 826 ¾ x 511 ¾ in.
Photo: Nic Tenwiggenhorn Copyright: © Katharina Grosse and VG Bild-Kunst, Bonn 2017
How is it that contemporary painting has dug its heels in, so to speak, and refuses to look like a painting anymore?
Rembrandt Harmensz van Rijn ‘Self-portrait as the apostle Paul’ 1661 (detail)
Rijksmuseum, de Bruijn-van der Leeuw Bequest, Muri, Switzerland
Rembrandt & the Dutch Golden Age, a major new exhibition, is the first of its kind to visit Sydney. The title is something of a misnomer – the centrepiece is a stunning work by Vermeer.
A detail from Mirka Mora’s Perth Festival Mural 1983; synthetic polymer paint on tin, 6 panels, each 120 x 280 cm (approx.)
Heide Museum of Modern Art, Melbourne, gift of Paul Swain, 2015.
In 1983, Mirka Mora painted a 21-metre mural in the forecourt of the Perth Concert Hall. The story of this remarkable painting's creation is fascinating.
Thomas Hart Benton’s murals at the Indiana University Auditorium depict the social history of the state.
A controversial panel on Indiana University's campus depicts Ku Klux Klan members, but Benton had a reason for including them. Is avoidance really the best way to deal with dark episodes of the past?