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| Gerard Burns Portrait of Doddie Weir 2019 oil on canvas Scottish National Gallery, Edinburgh |
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| Karl Lagerfeld Sibelius 1997 gelatin silver print Fine Arts Museums of San Francisco (Achenbach Foundation) |
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| Tom of Finland (Touko Laaksonen) Hitchhiker 1977 drawing Museum of Modern Art, New York |
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| Jo Ann Callis Man with Tie 1976 C-print San Francisco Museum of Modern Art |
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| Pierre Molinier Self Portrait ca. 1966 gelatin silver print San Francisco Museum of Modern Art |
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| Alice Neel Last Sickness (portrait of the artist's mother) 1963 oil on canvas Philadelphia Museum of Art |
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| Federigo Angeli Portrait of a Studio Assistant ca. 1930 oil on canvas Villa il Palmerino, Florence |
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| Claude Cahun Self Portrait - Double Exposure in a Rock Pool 1928 gelatin silver print Metropolitan Museum of Art, New York |
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| Abraham Walkowitz Isadora Duncan 1927 oil on canvas Museum of Modern Art, New York |
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| Jacques-Henri Lartigue La Mode - Avenue du Bois de Boulogne 1915 gelatin silver print San Francisco Museum of Modern Art |
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| William Nicholson Duffadar Valayat Shah, orderly to the Viceroy of India 1915 watercolor on paper British Museum |
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| Anonymous French Photographer Nice - au champ de courses 1912 gelatin silver print Museum of Modern Art, New York |
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| Emile Zola Denise Zola ca. 1900 gelatin silver print Metropolitan Museum of Art, New York |
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| Auguste Toulmouche Woman and Roses 1879 oil on canvas Clark Art Institute, Williamstown, Massachusetts |
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| Domenico Morelli Study for portrait of Signora Maglione ca. 1875 oil on paper, mounted on panel Villa Reale, Milan |
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| Anonymous French Makers Robe for member of the Ordre du Saint-Esprit 1722 silk velvet embroidered in silver and gold Musée du Louvre |
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| Anonymous English Painter after Peter Lely Prince Rupert of the Rhine in Garter Robes ca. 1670 oil on canvas Ashmolean Museum, Oxford |
In a word, we do not like Shakespeare's poems, because we like his plays: the one, in all their excellencies, are just the reverse of the other. It has been the fashion of late to cry up our author's poems, as equal to his plays: this is the desperate cant of modern criticism. . . . The two poems of Venus and Adonis and of Tarquin and Lucrece appear to us like a couple of ice-houses. They are about as hard, as glittering, and as cold.
– William Hazlitt (1778-1830)