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| Marie Louise von Motesiczky Baron Philippe de Rothschild 1986 oil on canvas Fitzwilliam Museum, Cambridge |
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| Dmitri Shostakovich 1906-1975 Soviet Commemorative Postage Stamp 1976 |
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| Frank O. Salisbury Bapsy Paulet, Marchioness of Winchester 1956 oil on canvas Guildhall, Winchester, Hampshire |
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| Bryan Kneale Self Portrait 1955 acrylic on canvas Royal Albert Memorial Museum, Exeter, Devon |
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| Lawrence Gowing Miss Baker 1947 oil on canvas Southbank Centre, London |
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| Walt Kuhn Self Portrait 1942 oil on canvas private collection |
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| Duncan Grant Angelica Garnett 1940 oil on canvas The Wilson, Cheltenham, Gloucestershire |
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| Maurice Canning Wilks The Seafarer 1939 oil on canvas Ulster Museum, Belfast |
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| Lynton Lamb Telegraph Boy with a Bandaged Hand in the Underground 1939 oil on canvas The Postal Museum, London |
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| Walt Kuhn Lady in Vest 1939 oil on canvas private collection |
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| Claude Rogers Margery Fry 1939 oil on canvas National Portrait Gallery, London |
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| Harrington Mann The painter Sir John Lavery 1936 oil on canvas Glasgow Museums |
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| Hugh Cameron Wilson Nana Brown ca. 1935 oil on canvas Dick Institute, Kilmarnock, Scotland |
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| Philip Naviasky Granada Gypsy ca. 1935 oil on canvas Burton Gallery, University of Leeds |
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| Wilfrid De Glehn Florence Hooton 1934 oil on canvas Royal Academy of Music, London |
"In Naturalist theories the effect of the work of art was supposed to be traceable back into the world. That it had its origin in that world – in some direct experience of it – was the guarantee of the work's authenticity. In forms of theory subject to the gravitational pull of Symbolism, on the other hand, the effects of art were signs of the authenticity of an inner life; they were understood, that is to say, as originating in the mind or soul of the artist. There were some clear implications of this position. With the abandonment of naturalistic correspondence as a criterion, a premium was placed on the strength and authenticity of individual responses and feelings. A requirement of vividness of expression tended to supplant the traditional requirement of accuracy of description."
– Charles Harrison and Paul Wood, from Art in Theory 1900-1990 (Oxford: Blackwell, 1992)