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| Polidoro da Caravaggio Model Studies for Virgin Annunciate ca. 1527-28 drawing (study for painting) British Museum |
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| Francesco Morandini (il Poppi) Studies of Seated Model before 1597 drawing British Museum |
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| Alessandro Casolani Seated Model and Cat ca. 1580-1600 drawing British Museum |
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| Nicolaes Maes Standing Model ca. 1648-50 drawing Ashmolean Museum, Oxford |
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| Hugues Taraval Life Study (model posed as dead Christ) before 1785 drawing Victoria & Albert Museum, London |
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| Achille-Etna Michallon Académie (Roman model) 1803 oil on paper, mounted on canvas Musée du Louvre |
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| Julien Vallou de Villeneuve Standing Model ca. 1853 salted paper print from paper negative Metropolitan Museum of Art, New York |
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| William McTaggart Model Study ca. 1855 oil on canvas Scottish National Gallery, Edinburgh |
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| Charles-Alphonse Marlé Model in Academic Pose ca. 1855 salted paper print from paper negative Metropolitan Museum of Art, New York |
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| Edward Burne-Jones Model Study ca. 1858 drawing Ashmolean Museum, Oxford |
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| Henri Matisse Le Repose du Modèle 1922 lithograph Loeb Art Center, Vassar College, Poughkeepsie, New York |
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| George Bellows The Model before 1925 drawing Buffalo AKG Art Museum, New York |
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| Louise Dahl-Wolfe Fashion Model at Rose Pauson House, Phoenix 1942 gelatin silver print National Gallery of Art, Washington DC |
-Model-wearing-Cape-by-Valentina-c1946-chromogenic-transparency-Metropolitan-Museum-of-Art-New-York.png){kind=spacer} |
| George Hoyningen Huene Model wearing Cape by Valentina ca. 1946 chromogenic transparency Metropolitan Museum of Art, New York |
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| Bernard Dunstan Model Study ca. 1950 drawing Ashmolean Museum, Oxford |
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| Philip Pearlstein Male and Female Models Reclining 1964 oil on canvas Milwaukee Art Museum, Wisconsin |
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| Joan Brown Model, Artist + Cupboard 1972 graphite, ink and acrylic on paper Carnegie Museum of Art, Pittsburgh |
I know that those who print these pages will weep, and therefore one must not be surprised at the bad print. Bad print is produced by poor people who have little strength. I know that print spoils the eyes, and therefore I want my writing to be photographed. For a photograph spoils only one eye, but print spoils many eyes. I want to photograph my manuscript, only I am afraid of spoiling the photograph. I had a camera, and I tried to make photographs with it and develop the films. I am not afraid of the red light, but I am afraid of spoiling the photographs, because film is a good thing and one must cherish it. I would prefer to give my camera to a man who would make one photograph of me. I like my camera because I think it will be of use to me. I feel the opposite. I do not want to make photographs, because I have little time. I want to devote myself to the theater and not to photography. I will leave photography to those who like it. I like photography, only I cannot sacrifice my whole life to it.
– from The Diary of Vaslav Nijinsky, written in Russian in 1919, translated by Kyril FitzLyon and edited by Joan Acocella (New York: Farrar, Straus and Giroux, 1999)