Clara Erskine Clement Waters was an American author and traveler.
Clelia Bompiani-Battaglia was an Italian painter. She was a pupil of her father, Roberto Bompiani, and of the professors in the Accademia di San Luca. The following paintings in watercolor established her reputation as an artist: Confidential Communication ( ; the Fortune-Teller ; A Public Copyist ; and The Wooing. Along with Alceste Campriani, Ada Negri, Juana Romani, and Erminia de Sanctis, Bompiani is named as one of Italy's best modern painters.
Ritta Boemm (1868–1948), a Hungarian artist, was considered talented among Dresden's women artists. Her gouache pictures dealing with Hungarian subjects, a "Village Street," a "Peasant Farm," a "Churchyard," exhibited at Dresden in 1892, were well drawn and full of sentiment, but lacking in color sense and power. She worked unevenly and seemed pleased when she succeeded in setting a scene well. She also painted portraits, mostly in pastel, which were described as spirited, but not especially good likenesses. What she could do in the way of color was noted in her "Village Street in Winter," a picture of moderate size, in which the light was exquisite. However, most of her paintings were less notable than this one.
Elisa Bloch was a Silesian-French sculptor. She was an officer of public instruction, Commander of the Order of the Liberator, and Chevalier of the Order of the Dragon of Annam. She was a pupil of Henri Chapu. Her first exhibition was at the Salon of 1878, a medallion portrait of M. Bloch; this was followed by "Hope," the "Golden Age," "Virginius Sacrificing his Daughter," "Moses Receiving the Tables of the Law," and others. Mme. Bloch made numerous portrait busts, among them being the kings of Spain and Portugal, Buffalo Bill, C. Flammarion, and others. She received honorable mention at an 1894 showing. At the Salon of the Artistes Francais, 1903, Bloch exhibited a "Portrait of M. Frederic Passy, Member of the Institute".
Elisabetta Benato-Beltrami (1813–1888) was a 19th-century Italian painter and sculptor. She lived in Padua since 1858. Her talent, which showed itself early, was first developed by an unknown painter named Soldan, and later at the Accademia di Belle Arti di Venezia. She made copies of Guido, Sassoferrato and Veronese, the Laokoon group, and the Hercules of Canova, and executed a much-admired bas-relief called "Love and Innocence." Among her original paintings are an "Atala and Chactas," " Petrarch's First Meeting with Laura," a "Descent from the Cross " for the church at Tribano, a "St. Sebastian," "Melancholy," a "St. Ciro," and many Madonnas. Her pictures are noble in conception and firm in execution. She exhibited in Milan in 1847.
Andrée Belle (?–?) was a French painter.
Euphrosine Beernaert was a Belgian landscape painter.
Carol H. Beck (1859-1908) was an American historical painter, critic and writer.
Antonia de Bañuelos Thorndike was a Spanish painter, born in Rome, who spent most of her life in Paris.
Caroline Peddle Ball was an American sculptor. She exhibited at both the 1893 Chicago Exposition and the 1900 Paris Exhibition.
Edith Ella Baldwin was an American painter of portraits and miniatures, a craftswoman, and writer. She studied in Paris at Académie Julian, under William-Adolphe Bouguereau and Tony Robert-Fleury; at the Angelo Colarossi studios under Gustave-Claude-Etienne Courtois, also under Julius Rolshoven and Henry Mosler.
Elizabeth Gowdy Baker (1860–1927) was an American portrait painter.
Carmen Babiano Méndez-Núñez (1852–1914) was a Spanish painter and a pioneer in feminine art.
Winifred Maria Louise Austen was an English illustrator, painter, etcher and aquatint engraver.
Isabelle Catherine van Assche-Kindt was a Belgian landscape painter, born in Brussels. She was a pupil of her uncle, Henri Van Assche. Her sister, Amélie van Assche, was a miniaturist. As early as 1812 and 1813, two of her watercolors were displayed in Ghent and Brussels. She was represented in the exhibitions at Ghent in 1826, 1829 and 1835; at Brussels in 1827 and 1842; at Antwerp in 1834, 1837 and 1840; and at Liège in 1836. Her subjects were all taken from the neighborhood of Brussels. One of her paintings belongs to the royal collection in the Haarlem Canal Pavilion. In 1828, she married Charles Leon Kindt.
Amélie van Assche (1804-?) was a Belgian painter. She was born in 1804, and was the daughter of Henri Jean van Assche. Her sister, Isabelle Catherine van Assche, a landscape painter, was a pupil of her uncle, Henri Van Assche. Her first teachers were Miss F. Lagarenine and D'Antissier. She later went to Paris, where she spent some time as a pupil of Millet. At the opening of the 19th century, the "Art of the Miniature" was cultivated—as expressed at the time—by Hortense van Baerlen, Marie-Josèphe Dargent, and Assche. She made her debut at Ghent in 1820, and in Brussels in 1821, with watercolors and pastels, and some of her miniatures figured in the various exhibitions at Brussels between 1830 and 1848, and in Ghent between 1835 and 1838. Her portraits, which are thought to be very good likenesses, are also admirable in color, drawing, and modelling; and her portrait of Leopold I., which she painted in 1839, won for her the appointment at court. She was a portrait painter and court painter to Queen Louise Marie of Belgium.
Annie R. Merrylees Arnold was a British miniature painter who worked in Scotland.
Hélène Marie Antigna was a French painter.
Adelaide Cole Chase was an American painter of portraits and still lifes. She was a member of the Art Students' Association.
Emma Richardson Cherry was an American painter of landscapes, still lifes and portraits.
