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| John Lyman Joséphine ca. 1930 oil on canvas Musée National des Beaux-Arts du Québec |
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| Eugene Edward Speicher Lucia 1931 oil on linen Whitney Museum of American Art, New York |
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| Eileen Robey Portrait of writer Mollie Panter-Downes ca. 1935 oil on canvas National Portrait Gallery, London |
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| George Hurrell Ann Southern 1935 gelatin silver print National Portrait Gallery, Washington DC |
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| Malcolm Osborne Kathleen Gill 1935 drypoint Smithsonian American Art Museum, Washington DC |
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| Charles Pollock Portrait of Elizabeth Pollock 1937 casein on board Smithsonian American Art Museum, Washington DC |
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| Jan Sluijters Young Woman ca. 1938 oil on canvas Museum Boijmans Van Beuningen, Rotterdam |
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| George Hoyningen-Huene Portrait of fashion editor Carmel Snow 1939 gelatin silver print National Portrait Gallery, Washington DC |
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| Nathan Lerner Tanya, New York 1943 gelatin silver print Hirshhorn Museum, Washington DC |
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| Robert Hyndman Portrait of Joan Hyndman 1943 oil on canvas Ottawa Art Gallery, Ontario |
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| Willem De Kooning Queen of Hearts 1943-46 oil paint and charcoal on board Hirshhorn Museum, Washington DC |
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| George Tooker Subway Rider 1944 tempera on paper Archives of American Art, Washington DC |
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| Walter Thomas Monnington Study of a Woman before 1945 drawing National Gallery of Victoria, Melbourne |
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| Walker Evans Trini Barnes ca. 1945 gelatin silver print Smithsonian American Art Museum, Washington DC |
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| Douglas Gorsline Brooklyn Local 1945 engraving Smithsonian American Art Museum, Washington DC |
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| Guy Pène Du Bois Flora Macculloch Miller 1947 oil on linen Whitney Museum of American Art, New York |
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| Carl Van Vechten Marian Anderson, operatic contralto 1947 gelatin silver print National Portrait Gallery, Washington DC |
ASSONANCE – An imperfect form of rhyme which counts only the vowel sound of the chief rhyming syllable. This principle was the original one of rhyme in French, and has always held a considerable place in Spanish. But in English it has never established itself in competent literary poetry; though it is frequent in the lower kind of folk-song, and though attempts to naturalise it – in forms even further degraded – were made by Mrs. Browning, and have been suggested since. As an instrument of vowel-music, very delicately and judiciously used at other parts of the line than the end, it has its possibilities, but must always be an offensive substitute in rhyming verse, and an almost equally offensive intruder in blank.
– George Saintsbury, from Historical Manual of English Prosody (1910)