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| William Bruce Ellis Ranken Mrs Kelsey in Pink 1919 oil on canvas York City Art Gallery |
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| Ottilie Roederstein Self Portrait with Brushes 1917 oil on canvas Kunsthaus, Zürich |
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| Amedeo Modigliani Portrait of Jacques and Berthe Lipchitz 1916 oil on canvas Art Institute of Chicago |
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| Jill Garnier Portrait of a Young Lady with a Plait ca. 1915 oil on canvas Falmouth Art Gallery, Cornwall |
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| Wilfrid De Glehn Portrait of actress Lynn Fontanne 1912 oil on canvas National Portrait Gallery, Smithsonian Institution, Washington DC |
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| Pietro Guadenzi Contessa Adelaide Odorico Castiglioni in a Mirror ca. 1910 oil on canvas Museo Civico Branda, Castiglioni |
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| Giovanni Boldini Lady with a Fan ca. 1910 watercolor on paper Musée d'Orsay, Paris |
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| Marguerite Rossert Miniature Portrait of a Woman against a Landscape 1908 watercolor on ivory Musée du Louvre |
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| Frank Dicksee Joan Marion Neville ca. 1908 oil on canvas Maidstone County Hall, Kent |
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| Charles Hodge Mackie Ella Carmichael Watson ca. 1905 oil on canvas University of Edinburgh |
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| William Glackens At Moquin's 1905 oil on canvas Art Institute of Chicago |
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| Robert Brough John Adrian Louis, 7th Earl of Hopetoun and 1st Marquis of Linlithgow 1904 oil on canvas West Lothian Council, Livingston, Scotland |
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| Gwen John Dorelia in a Black Dress ca. 1903-1904 oil on canvas Tate Britain |
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| Charles Sims Alan Gordon MacWhirter 1903 oil on canvas Royal Cornwall Museum, Truro |
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| Evelyn De Morgan Head of Jane Morris (study for painting, The Love Potion) 1903 drawing (colored chalks) De Morgan Foundation, Watts Gallery, Compton, Surrey |
"Photography pushes painting aside. Painting resists and is determined not to capitulate. This is how the battle must be interpreted which started a hundred years ago when the camera was invented and which will only end when photography has finally pushed painting out of the place it held in daily life. The photographers' motto was: precision, speed, cheapness. These were their advantages. Here they could compete with painters. Particularly in the case of portraits. Even the most gifted painter cannot achieve the degree of faithful reproduction of which the camera is capable. Even the quickest painter cannot supply a portrait within minutes. The cheapest painting is more expensive than the most expensive photograph. . . . The painter's task certainly does not consist in showing an object as it is but rather in recreating it in a painting according to different, purely painterly laws. What do we care for how an object looks? Let observers and photographers deal with that, we – the painters – make pictures in which nature is not the subject but merely an initial impetus for ideas. The painter not only has the right to change reality, it is virtually his duty to do so; otherwise he is not a painter but a bad copyist – a photographer."
– Osip Brik (1888-1945), from Photography versus Painting (1926)