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| Arturo Moradei Portrait of Vittorio Guaccimanni ca. 1885 pastel Museo d'Arte della Città di Ravenna |
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| George Richmond Portrait of Archibald Campbell Tait 1885 oil on canvas Balliol College, University of Oxford |
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| George Elgar Hicks Portrait of Annie Hicks ca. 1883 oil on canvas Southampton City Art Gallery |
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| John Singer Sargent Madame Paul Escudier (Louise Lefevre) 1882 oil on canvas Art Institute of Chicago |
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| Giuseppe de Nittis Portrait of a Lady 1882 pastel Villa Reale, Milan |
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| Luis Jiménez Aranda The Sculptor 1882 oil on canvas private collection |
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| John Everett Millais Portrait of Sir Henry Thompson 1881 oil on canvas University College London Art Museum |
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| Louis Welden Hawkins Portrait of a Youth 1881 oil on canvas Musée d'Orsay, Paris |
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| Odilon Redon Madame Redon embroidering ca. 1880 pastel Musée d'Orsay, Paris |
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| Julia Graydon Sharpe Portrait of a Woman ca. 1880-1900 oil on canvas Indianapolis Museum of Art |
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| Valentine Cameron Prinsep The Gamekeeper's Daughter ca. 1880 oil on panel Museum of Croydon, London |
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| Anonymous British Artist Portrait of Percy Tew ca. 1880 oil on canvas The Hepworth, Wakefield, Yorkshire |
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| Anna Lea Merritt Ophelia 1880 oil on canvas Smart Museum of Art, University of Chicago |
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| James McNeill Whistler The Blue Girl: Connie Gilchrist ca. 1879 oil on canvas Hunterian Art Gallery, University of Glasgow |
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| Karl Gussow Hedwig Woworsky née Heckmann 1878 oil on canvas Alte Nationalgalerie, Berlin |
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| Francesco Paolo Michetti Self Portrait ca. 1877 oil on canvas Banco Commerciale Italiana, Naples |
"The portrait painter must endeavour to find the predominating colour in the complexion he has to paint; and this found and faithfully reproduced, he has to seek whatever accessories at his disposal will give value to it. It is a very common error to suppose that the complexion of women, to be beautiful, must consist only of red and white: if this opinion be true for most of the women of our temperate climate, it is certain that in warmer regions there are brown, bronzed, or even copper complexions endued with a brilliancy, I may say beauty, appreciated only by those who, in pronouncing upon a new object, lay aside habitual expressions, which (albeit unconsciously to most men), exercise so powerful an influence upon their judgment of objects seen for the first time."
– Eugène Chevreul, from The Laws of Contrast of Colour: and Their Application to the Arts (1839), translated by John Spanton (1859)