Nolan painted some 75 versions of Leda and the Swan. Curator Barry Pearce offers some insights into the artist’s motivations for painting the series.

In Kelly and armour we finally see Kelly freed from his armour. Here, curator Barry Pearce finds some parallels between Nolan’s preoccupation with Ned Kelly and the poet Arthur Rimbaud.

African landscape, Rimbaud at Harar, Baboon, and Head of Rimbaud take us back to the awakening of Nolan’s inner eye during his youth, and forward to his last landscapes.

Sidney Nolan recounts the experiences that led him to create this series while Curator Barry Pearce argues why Riverbend may be seen as Nolan’s greatest masterpiece.

The Army slouch hat and the blue eyes give the game away: this portrait of Ern Malley is Nolan confronting his demons – or perhaps his critics.

Little Dog Mine brought with it more than a little bit of luck for Sidney Nolan as its sale introduced his work to the world stage.

Temptations of various saints have been a juicy subject for artists from the Middle Ages onwards but in Nolan’s painting, there is a suggestion that Saint Anthony’s will shall prevail.

Queensland was in the grip of a horrendous drought. Even so, Nolan drew inspiration from the trip, as Curator Barry Pearce recounts.

Nolan’s second Kelly series shows a more intimate image of Kelly in which the mask has partially broken away to reveal a Christ-like expression of calm.

In 1946, Nolan was driving his father through Northern Victoria, when they saw a hare struggling in a trap, the inspiration for this painting that could be seen as a self-portrait.