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| Jacob Gerrit Weyand Portrait of Sara Izaaks 1912 oil on board Museum de Fundatie, Zwolle, Netherlands |
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| Carl Larsson The Verger ca. 1875 oil on canvas Göteborgs Konstmuseum, Sweden |
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| Philip Guston Multiplied 1972 oil on canvas Albright-Knox Art Gallery, Buffalo, New York |
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| Anthony van Dyck St Jerome ca. 1615-16 oil on canvas Liechtenstein Museum, Vienna |
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| Jean-Raymond Hippolyte Lazerges Christ at the Column 1867 oil on canvas Musée des Augustins de Toulouse |
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| Wyndham Lewis Seated Figure ca. 1921 oil on canvas Scottish National Gallery of Modern Art, Edinburgh |
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| Curt Querner Portrait of a Woman (Regina in Red) 1939 oil on canvas Galerie Neue Meister, Dresden |
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| Lorenzo Lotto Portrait of a Man ca. 1500-1505 oil on panel Kunsthistorisches Museum, Vienna |
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| Joseph J. Gould Lippincott's - June 1896 lithograph (poster) Kunstbibliothek, Staatliche Museen zu Berlin |
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| Vilhelm Tveteraas Salome 1950 color woodblock print Stavanger Kunstmuseum, Norway |
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| Maurice Biais Wintergarten Saharet 1902 lithograph (poster) Kunstbibliothek, Staatliche Museen zu Berlin |
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| Curt Behrends Der Clou Berlins ist das zweite U.T. 1910 lithograph (poster) Kunstbibliothek, Staatliche Museen zu Berlin |
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| Hans Lindenstaedt Runges Tinte ist überall 1899 lithograph (poster) Kunstbibliothek, Staatliche Museen zu Berlin |
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| Otto Eckmann Monogram U.P. ca. 1896 lithograph Kunstbibliothek, Staatliche Museen zu Berlin |
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| Peter Klasen French Revolution Bicentennial 1989 screenprint (poster) Cabinet d'Arts Graphiques des Musées d'Art et d'Histoire, Genève |
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| Bjarne Holst Pas de Deux 1992 oil on canvas Nordnorsk Kunstmuseum, Tromsø |
"The Middle Ages accepted and developed rather than studied and restored the heritage of the past. They copied classical works of art and used Aristotle and Ovid much as they copied and used works of contemporaries. They made no attempt to interpret them from an archaeological, philological, or "critical," in short, from an historical, point of view. For, if human existence could be thought of as a means rather than an end, how much less could the records of human activity be considered as values in themselves."
"Some historians seem to be unable to recognize continuities and distinctions at the same time. It is undeniable that humanism, and the entire Renaissance movement, did not spring forth like Athena from the head of Zeus. But the fact that Lupus of Ferrières emended classical texts, that Hildebert of Lavardin had a strong feeling for the ruins of Rome, that the French and English scholars of the twelfth century revived classical philosophy and mythology, and that Marbod of Rennes wrote a fine pastoral poem on his small country estate, does not mean that their outlook was identical with that of Petrarch, let along of Ficino or Erasmus. No mediaeval man could see the civilization of antiquity as a phenomenon complete in itself and historically detached from the contemporary world; as far as I know, mediaeval Latin has no equivalent to the humanistic "antiquitas" or "sacrosancta vetustas." And just as it was impossible for the Middle Ages to elaborate a system of perspective based on the realization of a fixed distance between the eye and the object, so it was equally impossible for this period to evolve an idea of historical disciplines based on the realization of a fixed distance between the present and the classical past."
– Erwin Panofsky, from The History of Art as a Humanistic Discipline (1940)