Mark Dreyfus (Isaacs, Australian Labor Party, Shadow Attorney General) Share this | Hansard source

The Prime Minister and the Leader of the Opposition have both spoken in the House of Representatives of the business career and philanthropic generosity in Australia's cultural life of Gordon Darling. Today, I wish to speak more fully of his crucial role, together with his wife, Marilyn, in the establishment of one of our great national cultural institutions, the National Portrait Gallery. The National Portrait Gallery came into being because of the vision, commitment and support of Gordon Darling.

In 1992, Gordon and Marilyn put together an exhibition of over 100 paintings, sculptures and photographs intended to suggest the scope and variety which could be included in a national portrait gallery. It was a great success and gathered public support for the foundation of a portrait gallery. Initially formed as a program within the National Library, the portrait gallery has always attracted bipartisan support. Prime Minister Keating, opening an early exhibition in 1994, said that it was 'democratic in a totally uncontrived way' and that 'it might excite a wider interest in our history and society'. Prime Minister Howard, having been taken by the Darlings to Washington's National Portrait Gallery, was a strong supporter, leading to expanded accommodation in Old Parliament House and, ultimately, to the purpose-built gallery next to the High Court.

Despite Gordon Darling's undoubtedly conservative political leanings—he donated portraits of Robert Menzies and of John and Janette Howard to the gallery—he also donated portraits as varied as Nick Cave, Johnny O'Keefe, Mark Taylor and Eddie Mabo. One bias of Gordon's donations should be noted. His interest in cricket led him to donate portraits of Don Bradman, Joe Darling, his great-uncle, and Victor Trumper. Leo Schofield said that the Portrait Galley reflected Gordon Darling's broad view of Australian life.

The purpose of the National Portrait Gallery is to increase the understanding and appreciation of the Australian people—their identity, history, culture, creativity and diversity—through portraiture. That the gallery achieves this purpose is largely due to the vision of Gordon and Marilyn Darling. A glance at the front page of the gallery's website demonstrates how well it has achieved its aim of reflecting and interpreting Australian society—what it means to be Australian—with images of Australians as diverse as Bart Cummings, John Bell, Joan Kirner and Alan Bond, and an evocative photograph of mother and child Linda and Bindi. The gallery's building, commenced in 2005 by Prime Minister Howard and opened by Prime Minister Rudd in 2008, is designed by architects Johnson Pilton Walker. It is the perfect home for the gallery. Uncompromising and yet modest, it complements its grander neighbours, the High Court and the National Gallery. It is entirely appropriate that visitors to the gallery enter through the Gordon Darling Hall and pass Shen Jiawei's portrait of Gordon Darling, founding patron.

I acknowledge a debt to Dr Sarah Engledow and her essay Uncommon Australians: the vision of Gordon and Marilyn Darling for much of the material in this speech. To Marilyn, and to Gordon's and Marilyn's families, we extend our sincere condolences.

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