u/GreatestArtists

Olga Wisinger-Florian was an Austrian painter. She is considered one of the most important representative of the Austrian Mood Impressionism („Stimmungsimpressionismus“).

She was born in 1844 in a wealthy family in Vienna. She began private art lessons at age 19. Frustrated with her progress and the quality of the instruction, she followed her parents' wishes and trained as a concert pianist with Julius Epstein. From 1868 to 1874 she worked as a professional pianist, until a hand injury forced her retirement from the piano. After injury she returned to painting, and devoted herself wholly to its study. She studied first with August Schaeffer and then with Emil Jakob Schindler. At the age of 35 she started working as a professional painter. In the same year she was included in an exhibition of the Viennese Art Association.
She specialized in painting landscapes and flower arrangements. While her early work aimed at a realistic depiction with a love for detail, she turned to Impressionism in the mid-1890s. With her dynamic and fluid brushstrokes, she soon became one of the most significant painters of the style in Austria. She founded her own studio in 1884. Soon, she took on female students to compensate for the lack of academic training for women. She was an excellent businesswoman; among her clients were Prince Regent Luitpold of Bavaria, Tsar Ferdinand of Bulgaria (who invited her to his summer residence at the Black Sea for three months), Princess Clotilde of Saxe-Coburg and Gotha, Archduke Karl Ludwig, the Rothschild family and even Emperor Francis Joseph I. She was also an activist and was involved in the campaigns of Nobel Peace Prize laureate Bertha von Suttner, whom she represented at congresses in Rome, Antwerp, Bern, and Chicago. After a long and fulfilling career, she retired when she became blind in 1913. In her final years she suffered from cancer and a heavy eye disease and  died in Grafenegg, Austria, in 1926.

The painting Blühender Mohn is in collection of Österreichische Galerie Belvedere in Vienna, Austria.

Gisela von Kerssenbrock (died by 1300) was a German illuminator and choirmistress. She was a nun in the Cistercian convent in the northern German city of Rulle. She probably worked most of her life writing and illustrating manuscripts, as well as being choirmistress.

Jessie Marion King, known as Jessie M. King, (1875-1949) was a Scottish illustrator and designer. Born into a strict family who disproved of her art as a child, she found solace in the family houskeper, who become her second mother. She studied at the Glasgow School of Art (1892–1899). She is known for her illustrated children's books. She frequently depicted ethereal "wan haloed knights" and pale ladies draped in stars, influenced by her lifelong belief in fairies. 
She also designed bookplates, jewellery and fabric, and painted pottery. Jessie was one of the artists known as the Glasgow Girls. She was described in 1927 in the Aberdeen Press and Journal as "the pioneer of batik in Great Britain".

Ginevra Cantofoli (1608 or 1618 – 1672) was an Italian painter. Her early works were pastel portraits and small paintings, but she later went on to paint large-scale compositions. She was primarily a history painter. She also produced several altarpieces for Bolognese churches, although none of these works are known to still exist. She also painted on glass.

The painting is at the Berkeley Art Museum in California, USA.

Claricia (13th-century) was a German manuscript illuminator. She is noted for including a self-portrait in a South German psalter of c.1200, now in The Walters Art Museum, Baltimore. In the self-portrait, she depicts herself as swinging from the tail of a letter Q. Additionally, she inscribed her name over her head.

Anna Swenonis (died 1527) was a Swedish manuscript illuminator and prioress. She was a nun of the Bridgettine order in the Vadstena Abbey from 1478, and served as a prioress for a time.

Link to full manuscript

Maria Harrison (c.1820–1893) was a British painter and painting teacher. She was taught by her mother, a popular stil-life painter Mary Rossiter Harrison. She later studied in Paris. After her return to London she worked as a painting teacher. She mostly painted flower and fruit still-lives.

Laura Sylvia Gosse (1881–1968) was an English painter and printmaker. She was born in 1881 in London to artist Ellen Epps Gosse and poet and critic Edmund Gosse. She studied first at the St. John's Wood Art School and then at the Royal Academy of Art. She painted many paintings of working women, landscapes and some portraits. She also worked as an art teacher.

The artwork is in The Box, Plymouth in Devon, UK.

Luisa Rafaela de Valdés Morales, also known as Luisa de Morales, (1654-?) was a Spanish painter and engraver. She was born in 1654 to painter Juan de Valdés Leal and painter Isabel Martínez de Morales. She was taught by her father. She worked from adolescence in her father's workshop in Seville as an assistant and rarely signed her works.

The etching is at The British Museum, London in UK.

Lydia Field Emmet (1866–1952) was an American artist. She was born in 1866 to an illustrator Julia Colt Pierson Emmet and her husband, a merchant. Her first painting teacher was her sister, illustrator and painter Rosina Emmet Sherwood. Later she studied in Paris and New York. She is best known for her work as a portraitist. She also worked as an art teacher, designer and illustrator.

The stained glass is at Delaware Art Museum in Wilmington, Delaware, USA.

Jessie Marion King, known as Jessie M. King, (1875-1949) was a Scottish illustrator and designer. Born into a strict family who disproved of her art as a child, she found solace in the family houskeper, who become her second mother. She studied at the Glasgow School of Art (1892–1899). She is known for her illustrated children's books. She frequently depicted ethereal "wan haloed knights" and pale ladies draped in stars, influenced by her lifelong belief in fairies. 
She also designed bookplates, jewellery and fabric, and painted pottery. Jessie was one of the artists known as the Glasgow Girls. She was described in 1927 in the Aberdeen Press and Journal as "the pioneer of batik in Great Britain"

Photos:

• Fabric Design for Liberty & Co designed by Jessie M. King (collection of Lillie Art Gallery) https://artuk.org/discover/artworks/fabric-design-for-liberty-co-672664
• Kingcup designed by Jessie M. King (collection of Victoria and Albert Museum) https://artuk.org/discover/artworks/kingcup-692837/search/actor:king-jessie-marion-18751949/page/1/view_as/grid
• Scarf and fabric design (both designed by Jessie M. King) https://artuk.org/discover/artworks/kingcup-692837/search/actor:king-jessie-marion-18751949/page/1/view_as/grid
• Same as above
• The Beauly designed by Jessie M. King around 1910 (collection of Victoria and Albert Museum) https://collections.vam.ac.uk/item/O15881/the-beauly-furnishing-fabric-jessie-marion-king/
• Photo of Jessie M. King wearing scarf of her own design (c 1915-1920) https://universityofglasgowlibrary.wordpress.com/2015/06/17/jessie-m-king-e-a-taylor-photo-collection/

Berthe Marie Pauline Morisot (1841-1895) was a French painter. She was born in to the affluent bourgeois family of a prefect and a landlady. As a copyist at the Louvre in 1860s Berthe met and befriended other Impressionist artists. She is one of "les trois grandes dames" (The three great ladies) of Impressionism alongside Marie Quivoron-Bracquemond and Mary Cassatt.

The girl in the painting is the artist's daughter, a French painter and art collector Eugénie Julie Manet (1878-1966), known as Julie Manet. She was the only daughter of painter Berthe Morisot and painter Eugène Manet. She was taught painting by her mother. Throughout her youth Julie frequently posed for her mother and other Impressionist artists. Her teenage diary, published in English as Growing up with the Impressionists, provides detailed information on the lives of French painters, including Pierre-Auguste Renoir, Edgar Degas, Claude Monet, Paule Gobillard and Alfred Sisley, as well as the Dreyfus affair and the state visit of Tsar Nicholas II in 1896. After deaths of her parents she inherited a large fortune. She painted portraits, some murals, and also designed porcelain plates with butterflies and other insects as motifs. She and her husband Ernest Rouart spent their whole life keeping the legacy of Impressionists and especially her mother Berthe alive. Together with her husband she organized many crucial exhibitions, such as Édouard Manet exhibition at the Tuileries in 1932, Edgar Degas exhibition in 1937, and Berthe Morisot’s show of 1941. In 1961 she published the very first catalog of Berthe Morisot's works. She is sometimes called The Last Impressionist, or The Last Manet. 

Barbara Longhi (1552–1638) was an Italian painter. She was much admired in her lifetime as a portraitist, although most of her portraits are now lost or unattributed. Her work, such as her many Madonna and Child paintings, earned her a fine reputation as an artist.

The painting is at the Ravenna Art Museum in Italy.

Johanna Cornelia Hermana Bodenheim, also known as Nelly Bodenheim, (1874–1951) was a Dutch illustrator, textile artist, and designer of posters, book covers, and theatrical costumes. She was born in 1874 in Amsterdam. where her mother worked as an enterpreneur, abd her father owned a clothing atelier. Her father was an art collector, and Nelly showed interst in art at a young age. She studied at the Amsterdam Day Drawing and Art Crafts School for Girls, and at the Royal Academy of Visual Arts in Amsterdam. Her mother financially supported her and enabled Nelly to have a big atelier on an Amsterdam canal and to work more freely as an artist and be selective in accepting commissions. She made her debut as a children's book illustrator in 1897 with book Rietje's Pop by the Amsterdam children's book author Anna Christina Berkhout (pseudonym Tine van Berken). Her career as a successful children's book illustrator began around 1900. Eventually, a total of 22 books with her illustrations would be published, mainly featuring rhymes and songs. She also illustrated magazines. She become one of the two most important Dutch illustrators of her time (other being Rie Cramer).

The artwork is in the collection of Rijksmuseum in Amsterdam, Netherlands.

The second artwork is drawing of Nelly Bodenheim by Maria Elisabeth Georgina Ansingh, also known as Lizzy Ansingh, (1875–1959) from 1904. She was born in 1875 in the Dutch province of Utrecht, in Netherlands. Her father was a pharmacist and her mother was a painter Clara Theresia Schwartze. Because of her mother chronicly bad health she was raised by her aunt, painter Therese Schwartze. Her aunt taught ather drawing and painting and encouraged her to become a painter. Between 1894 and 1897 she studied at the Amsterdam Royal Academy of Visual Arts. Her early paintings and drawings were heavily influenced from her religious upbringing, which mostly consisted of images of angels and biblical scenes. Soon after leaving the Academy, she started painting small portraits, still life, tropical birds and dolls. She is noted for her doll paintings. What made her paintings so unique was her representation of dolls not as mere objects, but as animate things. In the history of Dutch art, her paintings belonged to a unique genre. She was also a skilled portrait painter and also wrote two books for children, wrote poetry, and sometimes worked as an illustrator.

The photo is at the National and University Library of Slovenia (NUK).

Jelena Nemanjić-Mrnjavčević, also known by religious names Jefimija and Jevpraksija, (1349-1405) was a Serbian noblewoman, despotess, orthodox nun, poetess and artist. Her Praise of Prince Lazar, the text of which she embroidered on canvas, is considered one of the most important poetic works of medieval Serbian literature.

Margaretha, also known as Regula (Regula might be her religious name or just a nickname she got because of her work; she is often known as Margaretha dicta Regula) was a 15th-century German scribe and illuminator.

Around year 1450 she came in Lichtenthal Abbey in town Baden-Baden, where she lived as a Cistercian nun until her death. It is possible that she was already a nun before and had come to the Lichtenthal Abbey together with new abess. Her job at the abbey was to provide the new literature needed for the spiritual renovation of the monastery. She was also a reading mistress, thus responsible for the table readings (nuns of her order did not talk during meals; instead one of the nuns read something aloud), which were mostly held in German. She also taught other nuns and novices how to copy manuscripts.

The manuscripts she copied for liturgical use were in Latin. The books for table readings however were in German. It is possible that she had translated some of them from Latin original. Among the works she copied are Diurnal, Breviary, Solioquies of Bonaventura, Book of the Holy Maidens and Women, Evangeliar, Leben der Altväter, Paradisus anime, The spiritual rosegarden, and Legend aurea.

In some of the manuscripts she copied, she omited certain parts. For instance: in her copy of Book of the Holy Maidens and Women, she omited certain violent scenes of martyrdom, which according to her "are not useful to write or hear," or what she regarded as extraneous miracles "not needed for a godly life." She also attempted to make additions of her own: "Here I wanted to write a vision of St. Catherine’s birth, (which she says God gave her to understand), but it was not allowed."

The changes in her handwriting and type of ink she used show that she constantly strove to improve her work wich spun for almost three decades, until her death on 20th May 1478.

The image Holy Family traveling is from manuscript Sammelhandschrift - Cod. Lichtenthal 70 (copy of Vita Christi by Michael de Massa), which was made by Margaretha Regula in 1450-1452.