There's not a boxer among them: the 14 "Portraits By George Bellows" at the National Portrait Gallery, assembled in advance of his centennial, are atypical of the artist's body of work. The American painter is not best remembered for his portraiture, and these are not well-known subjects -- mostly family, friends and a couple of commissioned portraits. Still, those with an eye for Bellows' boxers and cityscapes will want to observe the human warmth in these likenesses. Relatives cover the walls. "Ma Bellows," all 265 pounds of her, was painted from memory and includes the details of the sitting room at the artist's Columbus, Ohio, boyhood home. Bellows' humorless father, an old-school Methodist Republican who wanted his son to be a bank president rather than an artist, is shown in a thoughtful pose at 79. The artist's daughters Anne and Jean are shown with parasols and frills. Each made a dollar a sitting. His "Aunt Fanny," who lived with the family for years and treasured Bellows' childhood drawings, stares from a canvas with wrinkled intensity. "Aunt Fanny will always remain to me the most beautiful and important vision of my babyhood," he wrote. The woman behind the artist, who helped him become a pre-eminent painter of the '20s, is the subject of "Emma in a Purple Dress," done in 1923. In 1925, on her husband's death at age 42, Emma Bellows was left with custody of his works. She organized a memorial exhibition for him at New York's Metropolitan Museum of Art, and oversaw Bellows retrospectives at the Art Institute of Chicago and the National Gallery of Art in 1957. Further, she made sure museums displayed his works prominently, firing off indignant letters when paintings were hung in less than choice spots. (The artist left some 600 paintings and thousands of lithographs; across the street from this exhibit, the Mickelson Gallery has some prints). PORTRAITS BY GEORGE BELLOWS -- At the National Portrait Gallery, through January 3.