Sofonisba Anguissola (1531-1626): Sofonisba Anguissola was one the six daughters of a nobleman of Cremona, Amilcare Anguissola. Her sisters Elena, Europa, Anna Maria, and Lucia were also painters. Elena curtailed her career to become a nun, Europa and Anna Maria married and apparently did not further their artistic inclinations. Lucia, whose talents were considerable died young and few of her paintings survive, the best-known being the portrait of Dr. Pietro Maria. Sofonisba was to have a long and distinguished career. She was appointed painter to the court of King Philip II of Spain.
References: Seeing Ourselves: Women's Self-Portraits by Frances Borzello, pp42-46;
Women, Art and Society by Whitney Chadwick, pp.77-86;
Sofonisba Anguissola: A Renaissance Woman, by Sylvia Ferino-Pagden and Marie Kusche;
Women Artists: An Illustrated History by Nancy G. Heller, pp.15-19;
Women, Artists in History by Wendy Slatkin, pp.40-44.

Lavinia Fontana (1552-1614): Lavinia Fontana was born in Bologna, Italy, was the daughter of the artist Prospero Fontana who trained her. A painter of portraits and mythological works she was a prolific painter despite being the mother of eleven children. She was summoned by Pope Clement VIII where she painted The Martyrdom of St. Stephen for the basilicaaa of San PaoloFuori. She was the first woman to receive commissions for public paintings and was elected to the Roman Academy.
References: Women Artists: An Illustrated History by Nancy G. Heller, pp. 19-20;
Seeing Ourselves: Women's Self-Portraits by Frances Borzello, p. 42.

Fede Galizia (1578-1630): Artist best known for her still life paintings although she was also an accomplished portraitist. By the time she was twelve, her skill as a painter was already well-known. Until the 17th century, still life paintings were rare in Italy.
References: Fede Galizia by Flavio Caroli;
Women Artists: An Illustrated History by Nancy G. Heller, pp. 21-22.

Diana Scultori Ghisi (1547-1612): Also known as Diana Mantuana or Diana Mantovana. She was a 16th century engraver. Her name identifies her with the print making tradition of Mantua and she was the only woman who was permitted to place her own name on her prints. She moved to Rome in 1575 and was given papal permission to print and sell her work using the name of Diana Mantovana or Diana Mantuana.
References: Diana Mantuana in The Dictionary of Women Artists by Evelyn Lincoln;
Women, Art and Society by Whitney Chadwick, pp.90-91.

Esther Inglis (1571-1624): Esther Inglis was born in France.She was principally a calligrapher whose patrons included the Scottish and English aristocracy. Her manuscripts included self-portraits drawn over a twenty-five year period.
References: Seeing Ourselves: Women's Self-Portraits by Frances Borzello, p. 47.

Barbara Longhi (1552-1638): Barbara Longhi was born in Ravenna, Italy the daughter of the Mannerist painter Luca Longhi. Most of her paintings are depictions of the Madonna and Child.
References: Women Artists: An Illustrated History by Nancy G. Heller, p. 22.

Clara Peeters(1589-1657): Clara Peeters was born possibly in Antwerp, Holland. By the time she was seventeen, her works indicate that she was already a highly accomplished artist. Clara Peeters specialized in still life studies of gorgeous objects, luscious fruits, exotic flowers and expensive food. She was also a portraitis whose works included self-portraits, often reflected in miniature in the objects of her still life studies.
References: Seeing Ourselves: Women's Self-Portraits by Frances Borzello, pp.59-65;
Women, Art and Society by Whitney Chadwick, pp.131-132;
Clara Peeters by Pamela Hibbs Decoteau;
Women Artists: An Illustrated History by Nancy G. Heller, pp. 38-39.

Properzia de Rossi(1490-1530): Properzia de Rossi was born in Bologna, Italy. She was trained by Marcantonio Raimondi the engraver of Raphael's paintings. Properzia de Rossi was a sculptor whose first major success came when she won a competition to do the sculpture for the church of San Petronio. She was also a miniaturist who sculpted on peach stones and cherry pits.
References: Women, Art and Society by Whitney Chadwick, pp. 92-93;
Women Artists: An Illustrated History by Nancy G. Heller, pp.23-24.

Levina Teerline (1510?-1576): Flemish miniaturist who served as a painter to the English court of Edward VI, Mary I and Elizabeth I. Her succes was such that at one point she was paid and annual income that was more than that of both Hans Holbein and Nicholas Hilliard the famed English miniaturist. Inspite of the acclimation she enjoyed during her life time there are no surviving works that may be definitively attributed to her. A miniature of Lady Catherine Grey now at the Victoria and Albert Museum is said to have been painted by her but this has been the subject of ongoing debate.
References: Seeing Ourselves: Women's Self-Portraits by Frances Borzello, p.47;
Women, Art and Society by Whitney Chadwick, pp. 115-116;
Women Artists: An Illustrated History by Nancy G. Heller, pp. 26-27;
Women Artists: 1550-1979 by A.S. Harris and L. Nochlin, pp. 102-104.

Marietta Robusti Tintoretto (1560-1590): Born and lived in Venice. Marietta Robusti was known as La Tintoretta. She was the daughter of the artist Jacobo Rubusti who was better known as Tintoretto. Of Jacobo's eight children, Marietta and her three brothers were all apprenticed in their father's art workshop. In Tintoretto's biography by Ridolfi published in 1648, Marietta is said to exemplify the ideal of womanhood for the time in that she was well-educated, artistic and a skilled musician. Her paintings are of a standard as to have been frequently confused with those of her father's.
References: Seeing Ourselves: Women's Self-Portraits by Frances Borzello, p. 46;
Women, Art and Society by Whitney Chadwick, pp.18-20;
Vita di Giacopo Robusti detto il Tintoretto, by Carlo Ridolfi.

Caterina van Hemessen (c.1527-c.1566): Caterina van Hemessen was born and lived in Antwerp. She was trained by her father the artist Jan van Sanders Hemessen. Caterina specialized in portraits and religous themes. She served as painter to the court of Mary, Regent of the Netherlands, when the latter moved her court to Spain in 1556. Two of her surviving religious paintings include Rest on the Flight into Egypt and the study of Christ and Veronica.
References: Seeing Ourselves: Women's Self-Portraits by Frances Borzello, p.39;
Women, Art and Society by Whitney Chadwick, pp. 114-116;
Women Artists: 1550-1979 by Ann Sutherland. Harris and Linda Nochlin, pp. 105.