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| Marc Arcis Portrait of Louis XIV 1674 terracotta Musée des Augustins de Toulouse |
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| Ferdinand Hodler Portrait of Valentine Godé-Darel 1912 oil on paper Leopold Museum, Vienna |
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| Johanne Sätermyrmoen Portrait of a Man ca. 1955-60 oil on canvas Anno Museum, Hamar, Norway |
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| Jakob Matthias Schmutzer Head of Young Man ca. 1770-80 drawing Museum für Angewandte Kunst, Vienna |
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| Anonymous Austrian Artist Portrait Study of a Man ca. 1775-85 drawing Graphische Sammlung Albertina, Vienna |
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| Jean-Baptiste Marc Bourgery Facial Nerves 1831 lithograph (book illustration) Universitätsbibliothek, Heidelberg |
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| Lovis Corinth Portrait of Georg Brandes 1925 oil on canvas Royal Museum of Fine Arts, Antwerp |
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| Anonymous French Artist Young Woman with Turban 17th century oil on canvas Musée d'Art et d'Histoire de Narbonne |
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| Georges Méliès Portrait of a Man 1883 oil on canvas Wallraf-Richartz Museum, Cologne |
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| Bartolomeo Montagna Christ at the Column ca. 1495-1500 oil on panel Gemäldegalerie, Staatliche Museen zu Berlin |
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| Curt Querner Self Portrait 1930 oil on canvas Galerie Neue Meister (Albertinum), Dresden |
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| Frans Floris Captain of the Fencing Guild, Antwerp ca. 1553-55 oil on panel (study for altarpiece) Museumslandschaft Hessen Kassel |
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| Yngve Baum Untitled (from series Lofoten) 1965 gelatin silver print Moderna Museet, Stockholm |
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| Félix Auvray Woman in a Swoon ca. 1831 drawing (study for painting, The Last Days of Pompeii) Musée des Beaux-Arts de Valenciennes |
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| Ludger tom Ring the Younger Portrait of a Man 1566 oil on panel Landesmuseum Hannover |
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| Egon Schiele Lecture on Shaw and Shakespeare by Dr Egon Friedell 1910 lithograph (poster) Graphische Sammlung Albertina, Vienna |
"[John] Ruskin shared with [William Holman] Hunt a commitment to particular truths over general truths, a recognition that noble and inferior elements were mingled in nature, and a belief that beauty could be discovered in the unexpected and the unconventional. For Ruskin, such beauty was more valuable and stirring than conventional beauty because it was the result of the union of careful observation with an equally attentive imagination. In Ruskin's concept of Vital Beauty, expression dominates form and is the means by which spirit and intellect make a face truly beautiful."
"According to [Charles] Bell, emotional expression possesses a power to transform human facial features and thereby redefines the beautiful: 'A countenance which, in ordinary conditions has nothing remarkable, may become beautiful in expression. It is expression which raises affections, which dwells pleasantly or painfully on the memory. It is the evanescent expression, more than the permanent form, which is painfully dear.' Bell's emphasis on the fleeting nature of expression rather than the permanent form of the head or facial features attaches symbolic importance to individual expressions, which reflect the emotional life."
– from an article, Expression over Beauty, by Julie F. Codell, published in Victorian Studies (1986)