There are current moves towards a national bill of rights in Australia, but any such bill which fails to include and entrench all of the various traditional and antecedent rights and freedoms will be of no use. That is to say, our rights and freedoms are not limited to the trendy 'rights' as framed by ardent lobbyists

Thanks to recent discoveries, including a remarkable find in the Fisher Library, the ongoing debate about the number of authentic Giorgiones remains unresolved. What is clear, however, is that his ardent colours and subtle gradations of light conferred a distinctive quality on Venetian art and exerted a lasting influence on European art

'The movement of Australian women artists to Paris in the first half of the last century was a pilgrimage, a lay pilgrimage, but a pilgrimage just the same,' note Clem and Therese Gorman in 'Intrépide: Australian Women Artists in Early Twentieth-Century France', a worthwhile addition to the history of Australian art

There are various parallels in the lives, careers and artistic achievements of Spain's Joaquin Sorolla and Australia's H. Septimus Power, both of whom rose to recognised distinction, each in his own country as well as internationally. More than mere 'national painters', they shine amongst post-impressionists who never abandoned their traditional training and methods

In addition to the major state public art galleries in the capital cities, Australia is blessed with a network of smaller galleries in regional centres. Of these, Benalla's collection is one of the brightest gems for its scope, coverage and appeal, showcasing the work of artists who make the trip up or down the Hume Highway worth every mile travelled

Among the many tributes paid to the late Prince Philip, […]

Henry Lamb was born in Adelaide, later making his home and fame in England, where his experience during World War One inspired not the heady excess and determined frivolity of the bright young things in whose circle he moved but a lifelong determination thereafter to produce works of beauty. In this he succeeded magnificently

The Duke of Edinburgh did not amass vast collections like those of Charles I and Catherine the Great, but in his own modest way he assisted numerous worthy artists, including more than a few spurned by the Establishment, to attain deserved public prominence. Until the end, his was an educated, independent and discerning eye

The Norwegian’s dark and bleak pictures of individuals, couples or families lost in windswept and threatening landscapes, with their sidearms or rifles at the ready, offer a sharp reminder of realities to come or not far away. It is no surprise that he shared a podium on one memorable occasion with Sir Roger Scruton