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| Nicolas de Largillière Portrait of Monsieur de Noirmont ca. 1700 oil on canvas Museu Nacional de Arte Antiga, Lisbon |
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| Noël-Nicolas Coypel Portrait of Madame de Bourbon-Conti as Venus 1731 oil on canvas John & Mable Ringling Museum of Art, Sarasota, Florida |
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| Nicolas Lancret Portrait of actor Charles-François Racot de Grandval ca. 1742 oil on canvas Indianapolis Museum of Art |
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| Jean-Bernard Restout Young Woman with a Guitar 1768 oil on canvas Museum of Fine Arts, Houston |
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| Élisabeth Vigée Le Brun Portrait of the Prince of Nassau ca. 1770 oil on canvas Indianapolis Museum of Art |
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| Anicet-Charles-Gabriel Lemonnier Portrait of Louis XVI ca. 1785 oil on canvas Musée de la Légion d'Honneur, Paris |
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| Jacques-Louis David Portrait of Madame Raymond de Verninac 1798-99 oil on canvas Musée du Louvre |
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| Le Chevalier de Chateaubourg (Charles-Joseph de la Celle) Miniature Portrait of Sophie Piper 1799 gouache on ivory Nationalmuseum, Stockholm |
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| Antoine-Jean Gros Portrait of Joachim Murat, King of Naples ca. 1812 oil on canvas Musée du Louvre |
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| Jean-Auguste-Dominique Ingres Portrait of Madame Moitessier 1856 oil on canvas National Gallery, London |
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| Henri Fantin-Latour Portrait of Madame Lerolle 1882 oil on canvas Cleveland Museum of Art, Ohio |
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| Berthe Morisot Woman on a Sofa ca. 1885 oil on canvas National Gallery, London |
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| François Flameng Portrait of Lady Duveen née Salamon 1910 oil on canvas Ferens Art Gallery, Kingston upon Hull |
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| Édouard Vuillard Portrait of Princess Elizabeth Bibesco née Asquith ca. 1920 oil on canvas Museu de Arte de São Paulo, Brazil |
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| Edmund Dulac Portrait of Elizabeth Allhusen 1922 oil on canvas, mounted on panel Ferens Art Gallery, Kingston upon Hull |
Sequestrienne
Don't look at me
for answers. Who am I but
a sobriquet,
a teeth-grinder,
grinder of color,
and vanishing point?
There was a time
of middle distance, unforgettable,
a sort of lace-cut
flame-green filament
to ravish my
skin-tight eyes.
I take that back –
it was forgettable but not
entirely if you
consider my
heavenly bodies . . .
I loved them so.
Heaven's motes sift
to salt-white – paint is ground
to silence; and I,
I am bound, unquiet,
a shade of blue
in the studio.
If it isn't too late
let me waste one day away
from my history.
Let me see without
looking inside
at broken glass.
– Dorothea Tanning (2002)