George Hendrik Breitner
(1857- 1923)
 

George Hendrik Breitner was a Dutch painter and photographer. An important figure in Amsterdam Impressionism, he is noted especially for his paintings of street scenes and harbours in a realistic style. He painted en plein air, and became interested in photography as a means of documenting street life and atmospheric effects – rainy weather in particular – as reference materials for his paintings.

https://en.wikipedia.org/wiki/George_Hendrik_Breitner

The Earring
circa 1893
Oil on canvas
Museum Boijmans Van Beuningen, Rotterdam, Netherlands
https://www.boijmans.nl/en/collection/artworks/101543/the-earring

Jean-Étienne Liotard 
(1702- 1789)
 

Jean-Étienne Liotard was a Genevan painter, pastellist, printmaker, art theorist and art dealer. Born in the Republic of Geneva as the son of exiled French Huguenots, he spent most of his career working in cities such as Rome, Istanbul, Paris, Vienna, London, Amsterdam and other cities. He is best known for his detailed, strikingly naturalistic portraits in pastel and Orientalist scenes of life in Turkey. As an art theorist he wrote the Traité des Principes et règles de la Peinture (Treatise on the Principles and Rules of Painting) in which he argued that painting should to be a mirror of nature.

https://en.wikipedia.org/wiki/Jean-Étienne_Liotard

Portrait of John, Lord Mountstuart, later 4th Earl and 1st Marquess of Bute
Pastel, on vellum
114.9 × 90.2 cm
The J. Paul Getty Museum, Los Angeles, United States
https://www.getty.edu/art/collection/object/108GFH

Jean-Étienne Liotard depicted the charismatic English nobleman in an elegant setting--a re-creation of a salon in Geneva appointed with Rococo furnishings such as firedogs ornamented with cherubs and a Chinese folding screen used to stop cold drafts. Above the mantel, Liotard depicted Mountstuart's handsome profile and dignified posture in a gilded mirror. 

Thomas Dewing
(1851 – 1938)

Thomas Wilmer Dewing was an American painter working at the turn of the 20th century. Schooled in Paris, Dewing was noted for his figure paintings of aristocratic women. He was a founding member of the Ten American Painters and taught at the Art Students League of New York. The Freer Gallery of Art at the Smithsonian Institution has a collection of his works. He was the husband of fellow artist Maria Oakey Dewing. 

https://en.wikipedia.org/wiki/Thomas_Dewing

The Letter
1908
oil on panel
49.8 × 61 cm
The Toledo Museum of Art, Toledo, United States
https://emuseum.toledomuseum.org/objects/54976/the-letter?ctx=9eb1acf5f9624a72bbe9d953d33a5e605d4f3c40&idx=0

Manuel Diaz Meré
(b. 1988)
 

Manuel Diaz Meré (Madrid, 1988) was born into a family of musicians, engineers and painters. His early vocation for the drawing and influence of his grandfather, musician and painter, determined his decision to devote himself to painting, licensing in Fine Arts by the Complutense University of Madrid (2014). He continued his training as a figurative painter through several master workshops taught by renowned artists such as Antonio López (Masterful Workshop of painting of Fabero, 2016, 2017 and 2019; IX Course of the Extraordinary Chair City of Albacete, 2018), Julio López Hernández and Tomás Bañuelos Ramón (Masterful Workshop of sculpture of Fabero, 2017), among others.

https://zapadores.org/profile/manuel-diaz-mere/

Selfportrait at the mirror with dust
2020
Oil on wood
101 × 80 cm
Asociación Española de Pintores y Escultores, Madrid, Spain 

Claude Lefèbvre
(1632 - 1675)

Claude Lefèbvre was a French painter and engraver.
In 1654 he studied with Eustache Le Sueur in Paris, and after Le Sueur's death in 1655, with Charles Le Brun. Under Le Brun he probably assisted in the preparation of cartoons (untraced) for the tapestry series History of the King (Château of Versailles) and painted a Nativity (untraced) for Louis XIV, but Le Brun found Lefèbvre's compositions poor and encouraged him to specialize in portraiture.
Lefèbvre soon established himself as a leading portrait artist, and in 1663, at the age of thirty, he was received (reçu) as a member of the Académie Royale de peinture et de sculpture in anticipation of his portrait of Jean-Baptiste Colbert (Château of Versailles). Lefèbvre spent several years creating the portrait and finally presented it on 30 October 1666. He was an assistant professor at the Académie beginning in 1664. Among his students were François de Troy and Jean Cotelle, le jeune.


https://en.wikipedia.org/wiki/Claude_Lefèbvre

The Artistes Eldest Daughter Combing her Little Brother's Hair
17th Century
Oil on canvas
102 × 82.5  cm.
Rmn-Grand Palais, Paris, France
https://musee-magnin.fr/en/collection/objet/artists-eldest-daughter-combing-her-little-brothers-hair

Gerrit Dou
1613–1675)

Gerrit Dou, also known as Gerard Douw or Dow, was a Dutch Golden Age painter, whose small, highly polished paintings are typical of the Leiden fijnschilders. He specialised in genre scenes and is noted for his trompe-l'œil "niche" paintings and candlelit night-scenes with strong chiaroscuro. He was a student of Rembrandt. 

https://en.wikipedia.org/wiki/Gerrit_Dou

A Young Woman at her Toilet
1667
Oil on panel
58 × 75.5 cm
Museum Boijmans Van Beuningen, Rotterdam, Netherlands
https://www.boijmans.nl/en/collection/artworks/1738/A-Young-Woman-at-Her-Toilet

Edward Henry Corbould
(1815 - 1905)
 

Edward Henry Corbould, R.I was a British artist, noted as a historical painter and watercolourist. Corbould was known for his water-colours, in which he produced subjects illustrating literature (mainly from Chaucer, Spenser, and Shakespeare), history, and daily life. A few of his pictures are in oils (e.g. The Canterbury Pilgrims, 1874).

https://en.wikipedia.org/wiki/Edward_Henry_Corbould

The magic mirror 
1853
Watercolour
118 × 151 cm
Art Gallery of New South Wales, Sydney, Australia
https://www.artgallery.nsw.gov.au/collection/works/302.2016/

The subject of this painting is from Sir Walter Scott’s poem 'The lay of the last minstrel' (1805). The lovesick Earl of Surrey – courtier, soldier and poet at the court of Henry VIII – is awestruck before an apparition of ‘the fair Geraldine’, to whose lifelong service he had devoted his pen. He kneels in a magic circle surrounded by an array of cabbalistic implements. The vision of Surrey’s unattainable maiden (seen reclining on a couch reading her lover’s verses) is conjured in a magic mirror by the agency of the sorcerer, Cornelius Agrippa.