Examples of portraits by artists who were born from 1801 to 1850:

Listed chronologically by artist's birth year

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Gustave Courbet (French, 1819-1877), Portrait of Juliette Courbet as a Sleeping Child, 1841, graphite on paper, Musée d'Orsay.

Félix Nadar [Gaspard-Félix Tournachon] (French, 1820-1910), Portrait of Charles Baudelaire (1821-1867), c. 1850, unique test on salted paper, 24 x 18 cm, Musée d'Orsay, Paris. See French art and photography.

Mathew Brady (American, 1823-1896) Studio, Thomas Cole (1801-1848), c. 1846, daguerreotype, 5 3/8 x 4 inches (13.6 x 10.2 cm), National Portrait Gallery, Smithsonian Institution, Washington, DC.

Mathew B. Brady, Abraham Lincoln (1809-1865), 1860, salted paper print; sheet: 8.7 x 5.3cm (3 7/16 x 2 1/16 inches), National Portrait Gallery, Washington, DC.

Mathew Brady Studio, Ulysses S. Grant (1822-1885), 1864, albumen silver print, 4 9/16 x 4 3/4 inches (11.6 x 12.1 cm), National Portrait Gallery, Smithsonian Institution, Washington, DC.

Mathew Brady Studio, Walt Whitman (1819-1892), c. 1867, albumen silver print, 9 7/16 x 7 3/8 inches (23.9 x 18.7 cm), National Portrait Gallery, Smithsonian Institution, Washington, DC. By 1867, Whitman's major work as a poet was done. His remaining years would be spent re-editing Leaves of Grass, writing prose, and cultivating his reputation throughout the world.

Samuel Hollyer (American, 1826-1919) after Gabriel Harrison, Walt Whitman, c. 1854-1855, stipple engraving on paper, sheet: 29 x 21.3cm (11 7/16 x 8 3/8 inches), National Portrait Gallery, Washington, DC. Whitman was 36 years old, and self-published the first edition of Leaves of Grass, 1855, using this picture for its frontispiece, and later wrote of it: "I look so damned flamboyant, as if I was hurling bolts at somebody-full of mad oaths-saying defiantly, to hell with you!"

Charles Lutwidge Dodgson, aka Lewis Carroll (English mathematician and writer [author of Alice In Wonderland ], as well as photographer, 1832-1898), detail of Edith, Lorina and Alice (the Liddell sisters), 1859, the little girl who was the model for the fantasy Alice, photograph. A site posting many of his photos.

Charles Lutwidge Dodgson, aka Lewis Carroll, Dante Gabriel Rossetti (English painter and poet, 1828-1882), 1863, photograph.

Charles Lutwidge Dodgson, aka Lewis Carroll, Alfred, Lord Tennyson, photograph.

Hilaire-Germain-Edgar Degas (French, 1834-1917), Édouard Manet, Seated, 1866-68, portrait of Édouard Manet (French, 1832-1883), black chalk on off-white wove paper; sheet: 13 1/16 x 9 1/16 inches (33.1 x 23 cm), Metropolitan Museum of Art, NY.

James McNeill Whistler (American, 1834-1903, active in England), Drouet, 1859, etching and drypoint, 8 7/8 x 6 inches (22.5 x 15.2 cm), Los Angeles County Museum of Art.

James Abbott McNeill Whistler, Arrangement in Grey and Black No. 1: Portrait of the Artist's Mother, 1871, oil on canvas, 4 feet 8 3/4 x 5 feet 3 3/4 inches, Musée d'Orsay, Paris, France. With planes and shapes flattened, and color muted, Whistler's portrait demonstrates his devotion to aestheticism and art for art's sake. Accordingly, Whistler prefered to describe this paintings as an arrangement — much as music is an arrangement of pure forms — making him a precursor to abstract art. See rectangle.

Paul Cézanne (French, 1839-1906), Portrait of the Artist's Father, c. 1866, oil on canvas, 78 1/8 x 47 inches (198.5 x 119.3 cm), National Gallery of Art, Washington, D.C. See Impressionism and Post-Impressionism.

Paul Cézanne, Hortense Fiquet in a Striped Skirt, 1877-1878, oil on canvas, 28 1/2 x 22 inches (72.5 x 56 cm), Museum of Fine Arts, Boston, Venturi no. 292.

Paul Cézanne, Boy in a Red Vest (Garçon au gilet rouge), 1888-1890, oil on canvas, 25 7/8 x 21 1/2 inches (65.7 x 54.7 cm), Barnes Foundation, Merion, Pennsylvania.

Paul Cézanne, Peasant (Le paysan), c. 1891, oil on canvas, 22 x 18 1/8 inches (56 x 46 cm), private collection, Venturi no. 567.

Paul Cézanne, Woman in a Red-Striped Dress, 1892-1896, oil on canvas, 36 3/4 x 28 3/4 inches (93.2 x 73 cm), Barnes Foundation, Merion, PA.

Paul Cézanne, Child with Straw Hat, 1896, oil on canvas, 31 7/8 x 25 5/8 inches (81 x 65 cm), Galerie Yoshii, Tokyo, Venturi no. 698.

Paul Cézanne, Joachim Gasquet, 1896, oil on canvas, 25 7/8 x 21 3/8 inches (65.5 x 54.5 cm), Narodni Galerie, Prague, Venturi no. 694.

Paul Cézanne, Portrait of Henri Gasquet, c. 1896-1897, oil on canvas, 56.2 x 47 cm (22 1/8 x 18 1/2 inches), McNay Art Institute, San Antonio, TX.

Paul Cézanne, Boy with Skull (Jeune homme à la tête de mort), 1896-1898, oil on canvas, 51 1/4 x 38 1/4 inches (130.2 x 97.3 cm), Barnes Foundation, Merion, Pennsylvania.

Paul Cézanne, Portrait of Ambroise Vollard, 1899, oil on canvas, 39 1/2 x 32 inches (100.3 x 81.3 cm), Musee du Petit Palais, Paris, Venturi 696.

Paul Cézanne, Young Italian Girl Resting on Her Elbow, c. 1900, oil on canvas, 36 1/4 x 28 3/4 inches (92 x 73 cm), Collection Dr. and Mrs. William Rosenthal, NY, Venturi 701.

Paul Cézanne, Woman Seated in Blue, 1900-1902, oil on canvas, 34 3/4 x 28 3/8 inches (88.5 x 72 cm), State Hermitage Museum, St. Petersburg, Venturi no. 705, or: 1902-1906, Pushkin State Museum of Fine Arts, Moscow.

Paul Cézanne, Portrait of Vallier, 1906 oil on canvas, 65 x 54 cm (25 5/8 x 21 1/4 inches), private collection, Venturi 718.

Paul Cézanne, The Drinker, oil on canvas, 18 x 14 3/4 inches (45.7 x 37.5 cm), Barnes Foundation, Merion, Pennsylvania.

Paul Cézanne, Man in a Room, oil on canvas, 31 1/2 x 22 1/2 inches (80 x 57.2 cm), Barnes Foundation, Merion, PA.

Frédéric Bazille (French, 1841-1870), Portrait of Pierre-Auguste Renoir, 1867, oil on canvas, 37 x 32 1/3 inches (122 x 107 cm), Musée d'Orsay, Paris. See Impressionism.

Berthe Morisot (French, 1841-1895), Reading: The Mother and Sister Edma of the Artist (La lecture), 1869-1870, oil on canvas, 39 3/4 x 32 1/4 inches (101 x 81.8 cm), National Gallery of Art, Washington. This painting was retouched by Manet. See Impressionism.

Pierre-Auguste Renoir (French, 1841-1919), Romaine Lacaux, 1864, oil on canvas, Cleveland Museum of Art. See Impressionism.

Pierre-Auguste Renoir, Portrait of Claude Monet, 1875, oil on canvas, 33 1/2 x 23 3/4 inches (85 x 60.5 cm), Musée d'Orsay, Paris.

Pierre-Auguste Renoir, Portrait of the Actress Jeanne Samary, 1878, oil on canvas, 68 x 40 1/2 inches (174 x 101.5 cm), Hermitage Museum, St. Petersburg, Russia. See Impressionism and theater.

Pierre-Auguste Renoir, Madame Georges Charpentier (Marguerite-Louise Lemonnier, 1848-1904) and Her Children, Georgette-Berthe (1872-1945) and Paul-Émile-Charles (1875-1895), 1878, oil on canvas, 60 1/2 x 74 7/8 inches (153.7 x 190.2 cm), Metropolitan Museum of Art, NY. (On the Met's page, you can enlarge any detail.)

Pierre-Auguste Renoir, The Luncheon of the Boating Party (Le déjeuner des canotiers), 1881, oil on canvas, 51 x 68 inches (129.5 x 172.7 cm), Phillips Memorial Gallery, Washington, DC.

Thomas Eakins (American, 1844-1916), The Gross Clinic, 1875, oil on canvas, 96 x 78 inches, Jefferson Medical College of Thomas Jefferson University, Philadelphia, PA. See realism.

Mary Cassatt (American, 1844 or 45?-1926, active in France), Mother About to Wash Her Sleepy Child, 1880, oil on canvas, 39 3/8 x 25 7/8 inches (100 x 65.7 cm), Los Angeles County Museum of Art. See Impressionism.

Paul Gauguin (French, 1848-1903), M. Loulou, 1890, oil on canvas, 21 5/8 x 18 1/8 inches (55 x 46.2 cm), Barnes Foundation, Merion, PA. See Post-Impressionism.

Examples of portraits by artists who were born before and after those represented above:

• Before 1700
• Between 1701 and 1800
•  
• After 1850

• "By means of a back, we want a temperament, an age, a social condition, to be revealed; through a pair of hands, we should be able to express a magistrate or a tradesman; by a gesture, a whole series of feelings. A physiognomy will tell us that this fellow is certainly an orderly, dry, meticulous man, whereas that one is carelessness and disorderliness itself. An attitude will tell us that this person is going to a business meeting, whereas that one is returning from a love tryst. 'A man opens a door; he enters; that is enough: we see that he has lost his daughter.' Hands that are kept in pockets can be eloquent. The pencil will be steeped in the marrow of life."
  Edgar Degas (1834-1917), French Impressionist. Quoted by Edmond Duranty, La Nouvelle Peinture: A Propos du Groupe d'Artistes Qui Expose dans les Galleries Durand-Ruel, Paris, 1876, translated by Linda Nochlin and included in the Sources and Documents series, Impressionism and Post-Impressionism, 1874-1904, Englewood Cliffs, 1966.
  
  
• After his model-- Ambroise Vollard-- had posed for a portrait by Paul Cézanne for one hundred and fifteen sittings, Cézanne abandoned the canvas with the remark: "I am not altogether displeased with the shirt."
  Paul Cézanne (1839-1906), French Post-Impressionist painter.
  
  
• "If the man who paints only the tree, or flower, or other surface he sees before him were an artist, the king of artists would be the photographer. It is for the artist to do something beyond this: in portrait painting to put on canvas something more than the face the model wears for that one day; to paint the man, in short, as well as his features."
  James McNeill Whistler (1834-1903), American painter and etcher. The Gentle Art of Making Enemies, "Propositions" (1890).
  
  

Also see self-portrait.

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