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| Ignatz Marcel Gaugengigl Woman putting on Gloves ca. 1880-90 etching Smithsonian American Art Museum, Washington DC |
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| Charles West Cope Woman with Watering Can ca. 1885 watercolor on paper British Museum |
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| Frederick Warren Freer The Token 1887 etching National Gallery of Art, Washington DC |
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| August von Pettenkofen Study of a Seated Woman before 1889 graphite and watercolor on paper Graphische Sammlung Albertina, Vienna |
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| Mary Curtis Richardson Portrait of Mary Blanche Hubbard 1889 oil on canvas Crocker Art Museum, Sacramento, California |
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| Julian Alden Weir The Connoisseur 1889 oil on canvas Wichita Art Museum, Kansas |
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| Ludwig Sigmundt Portrait Study of a Woman ca. 1890 watercolor on paper Graphische Sammlung Albertina, Vienna |
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| Paul-César Helleu Study of a Woman ca. 1890 graphite and watercolor on paper British Museum |
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| Théodore Roussel Sleeping Model ca. 1890-95 drypoint and etching printed à la poupée British Museum |
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| Théodore Roussel Sleeping Model ca. 1890-95 drypoint and etching printed à la poupée British Museum |
-Portrait-of-Frida-Schytte-(violinist)-1893-oil-on-canvas-Skagens-Museum-Denmark.jpg) |
| Valdemar Schönheyder-Möller Portrait of violinist Frida Schytte 1893 oil on canvas Skagens Museum, Denmark |
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| Hubert Vos Alice Barney in White Satin 1894 oil on canvas Smithsonian American Art Museum, Washington DC |
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| Frederic Leighton Roman Peasant Girl before 1896 oil on canvas Manchester Art Gallery |
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| Charles I. Berg Galatea before 1896 platinum print National Museum of American History, Washington DC |
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| Hugo von Habermann Portrait of a Woman 1897 oil on canvas Frye Art Museum, Seattle |
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| Alexander Bassano Mrs Lawrence Drummond at the Devonshire House Fancy Dress Ball 1897 photogravure British Museum |
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| Charles Dana Gibson Head of a Young Woman ca. 1897 drawing Cooper Hewitt, Smithsonian Design Museum |
Cold and clear-cut face, why come you so cruelly meek,
Breaking a slumber in which all spleenful folly was drowned,
Pale with the golden beam of an eyelash dead on the cheek,
Passionless, taking revenge too deep for a transient wrong
Done but in thought to your beauty, and ever as pale as before
Growing and fading and growing upon me without a sound,
Luminous, gemlike, ghostlike, deathlike, half the night long
Growing and fading and growing, till I could bear it no more,
But arose, and all by myself in my own dark garden ground,
Listening now to the tide in its broad-flung shipwrecking roar,
Now to the scream of a maddened beach dragged down by the wave,
The shining daffodil dead, and Orion low in his grave.
– Alfred, Lord Tennyson, from Maud (1855)