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| Thomas Cooper Gotch The Exile 1929-30 oil on canvas Alfred East Art Gallery, Kettering, Northamptonshire |
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| Walter Russell Alice 1926 oil on canvas Royal Academy of Arts, London |
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| Gerald Kelly The Countess of Lisburne 1926 oil on canvas Ferens Art Gallery, Kingston upon Hull |
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| William Orpen Mrs Thomas Howarth 1926 oil on canvas Cartwright Hall Art Gallery, Bradford, Yorkshire |
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| Jacob Kramer Charles Frederick Ratcliffe Brotherton ca. 1925 oil on canvas Leeds General Infirmary, Yorkshire |
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| Dod Procter Girl in Blue 1925 oil on canvas Laing Art Gallery, Newcastle upon Tyne |
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| Wilfrid De Glehn Mrs Neville Chamberlain 1924 oil on canvas Birmingham Museum and Art Gallery, West Midlands |
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| Charles Sims King George V ca. 1924 oil on canvas Scottish National Portrait Gallery, Edinburgh |
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| Thomas Ronaldson Martine Lesley in the Studio 1923 oil on canvas Falmouth Art Gallery, Cornwall |
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| Wilfrid De Glehn Sisters 1923 oil on canvas Walker Art Gallery, Liverpool |
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| Robert Hope A Victorian Debutante ca. 1922 oil on canvas Aberdeen Art Gallery, Scotland |
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| Charles Sims Study of Sybil, Countess of Rocksavage, later Marchioness of Cholmondeley ca. 1922 oil on canvas Grosvenor Museum, Chester |
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| Lovis Corinth Fashion Show 1921 oil on canvas Museo Thyssen-Bornemisza, Madrid |
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| Harold Knight At the Piano ca. 1921 oil on canvas Laing Art Gallery, Newcastle upon Tyne |
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| Umberto Brunelleschi Self Portrait with Mask 1920 oil on panel private collection |
"In recent years, one catchphrase has motivated the present generation of creative artists. It urges them to 'Find new forms of expression!' I very much doubt, however, whether such a thing is possible. Anyone who looks at the paintings of the Old Masters, or immerses himself in the study of their works, will surely agree with me. As I see it, at any rate, the new element in painting lies in the extension of its subject area, an enhancement of those forms of expression already present in essence in the Old Masters. For me, the object is primary and determines the form. I have therefore always felt it vital to get as close as possible to the thing I see. 'What' matters more to me than 'How'. Indeed, 'How' arises from 'What'."
– Otto Dix (1891-1969), from The Object is Primary (1927)