History of World Art II: Day 39 - Women Painters of 16th century Northern Europe

Many obstacles stood in the way of women who wished to become painters during the Renaissance, including the dissection of cadavers and the study of the nude male. The system of apprenticeship involved the aspiring artist to live with an older master artist for 4-5 years from the years of 9-15 which meant that female artists would have to be trained by close relatives. Women artists are extremely rare for many reasons, including these.

The women artists who are known from this time have special distinctions setting them apart; extreme gifts, innovation, or both.

Caterina van Hemessen (1528 – after 1587) was female painter from the Netherlands and has the distinction of painting the first self-portrait of either gender depicted working at an easel. She is also the earliest female Flemish painter with a body of verifiable work. She was most likely trained by her father, Jan Sanders van Hemessen, a well-known painter.

Caterina van Hemessen, Self portrait (1548)

Caterina van Hemessen, Young girl, 1548.
This Cologne portrait could be a pendant
self-portrait or a portrait of her sister Christina

Levina Teerlinc (c. 1510–1520 - 1576) she was born in Bruges, she was a miniaturist who served as a painter to the English court of Edward VI, Mary I and Elizabeth I. She was so respected that Henry VIII first invited her to paint miniatures for them in . Teerlinc was the oldest daughter of the Simon Bening, a renowned illuminator of the Ghent-Bruges school. Teerlinc was most likely trained by her father as a manuscript painter and may have worked his workshop before her marriage. She was even more popular then Hans Holbein and received greater compensation for her work then her male contemporaries.

Her painting are very polished and ornate, with naturalistically portrayed figures. Her portrayal of the brocade and embroidered fabrics worn by Elizabeth I as a Princess (c. 1559) is extremely detailed and beautifully executed.