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| Robert Mapplethorpe Marianne Faithfull 1976 gelatin silver print Scottish National Gallery of Modern Art, Edinburgh |
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| Thomas Ruff Nacht 21 1992 C-print Museum of Modern Art, New York |
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| Bartolomé Estebán Murillo The Vision of Fray Julián of Alcalá (Ascension of the Soul of King Philip II of Spain) 1645–46 oil on canvas Clark Art Institute, Williamstown, Massachusetts |
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| Robert Frank New Yorker Theater, New York 1962 gelatin silver print San Francisco Museum of Modern Art |
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| Takuma Nakahira La Nuit 3 ca. 1969 photogravure San Francisco Museum of Modern Art |
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| Giovanni Domenico Lombardi (l'Omino) Adoration of the Shepherds ca. 1735-40 oil on canvas Fondazione Cassa di Risparmio di Lucca |
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| Alvin Langdon Coburn New York Subway Entrance, Madison Square Park 1912 photogravure Princeton University Art Museum |
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| Samuel Palmer Cornfield by Moonlight ca. 1830 watercolor and gouache on paper British Museum |
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| Eli Reed Castro Theater, San Francisco ca. 1980 gelatin silver print Fine Arts Museums of San Francisco (Achenbach Foundation) |
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| Augusto Giacometti Summer Night 1917 oil on canvas Museum of Modern Art, New York |
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| Arthur Segal RCA Building ca. 1949 gelatin silver print Fine Arts Museums of San Francisco (Achenbach Foundation) |
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| Kohei Yoshiyuki Untitled 1979 gelatin silver print San Francisco Museum of Modern Art |
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| Brassaï Les Arbres des quais, avec le Pont Neuf ca. 1945 gelatin silver print Metropolitan Museum of Art, New York |
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| Edward Hopper Night Windows 1928 oil on canvas Museum of Modern Art, New York |
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| Matthew Pillsbury Tanya & Sartaj Gill - CSI: Miami 2002 inkjet print Loeb Art Center, Vassar College, Poughkeepsie, New York |
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| Weegee Tenement Fire ca. 1944 gelatin silver print Metropolitan Museum of Art, New York |
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| Jacopo Bassano The Deposition ca. 1575-77 oil on canvas Musée du Louvre |
To the true Browne enthusiast, indeed, there is something almost shocking about the state of mind which would exchange 'pensile' for 'hanging' and 'asperous' for 'rough,' and would do away with 'digladiation' and 'quodlibetically' altogether. The truth is, that there is a great gulf fixed between those who naturally dislike the ornate, and those who naturally love it. There is no remedy; and to attempt to ignore this fact only emphasizes it the more. Anyone who is jarred by the expression 'prodigal blazes' had better immediately shut up Sir Thomas Browne.
– Lytton Strachey on Sir Thomas Browne (1906)