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| Samuel Halpert James Bolivar Manson (artist, and director of the Tate Gallery) 1903 oil on canvas National Portrait Gallery, London |
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| Frank Dicksee My Lady Fair 1903 oil on canvas Manchester Art Gallery |
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| Gabrielle Debillemont-Chardon Miniature Portrait of a Woman in Mourning 1902 watercolor on ivory Musée d'Orsay, Paris |
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| Clémence Andrée Leunique de Francheville Miniature Portrait of a Woman ca. 1900 watercolor on ivory Musée du Louvre |
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| John Singer Sargent Portrait of Charlotte Cram 1900 oil on canvas Saint Louis Art Museum, Missouri |
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| Ellis William Roberts The Honourable Enid Edith Wilson, Countess of Chesterfield 1900 oil on canvas National Trust, Beningbrough Hall, Yorkshire |
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| Robert Brough Miss Maud Lawrence 1898 oil on canvas Glasgow Museums |
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| John Henry Lorimer Lady Russell-Cotes 1897 oil on canvas Russell-Cotes Art Gallery and Museum, Bournemouth |
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| John Singer Sargent Portrait of Mrs George Swinton (Elizabeth Ebsworth) 1897 oil on canvas Art Institute of Chicago |
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| William Somerville Shanks Portrait of James Simpson 1894 oil on canvas McLean Museum and Art Gallery, Greenock, Inverclyde, Scotland |
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| Valentine Cameron Prinsep Portrait of Lady Simpson 1892 oil on canvas Glasgow Museums |
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| James Doyle Penrose Portrait of singer Antoinette Sterling 1891 oil on canvas Royal Society of Musicians of Great Britain, London |
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| Vittorio Rignano Circus Boy 1890 oil on canvas private collection |
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| James McNeill Whistler Sketch for a Portrait of Miss Ethel Philip ca. 1886-89 oil on canvas Hunterian Art Gallery, University of Glasgow |
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| Hal Mansfield Murray Alma Murray as Beatrice Cenci (scene from The Cenci by Percy Bysshe Shelley) 1887 oil on canvas Victoria & Albert Museum, London |
"The development of photography gave both impetus and confirmation to the shift in priorities we identify with artistic modernism. As an efficient witness to the momentary, and as a device for the recording of likenesses, the camera served to automate several of painting's traditional functions. In so far as it served to undercut the skills involved, it threatened to render those functions redundant. The typical effects can be seen in the field of portraiture. If all that was required was a likeness, then the photographer could now produce one much faster and cheaper than the painter. If painters were to maintain some stake in portraiture as an art, it would have to be by offering something more than mere likeness. For example, it might be claimed that a painted portrait was particularly attractive as a form of decoration. In other words, competition from photography supported the tendency for painters to concentrate upon the vividness of painterly effects rather than the realism of figurative illusions."
– Charles Harrison and Paul Wood, from Art in Theory, 1815-1900 (Oxford: Blackwell, 1998)