Clelia Bompiani-Battaglia was an Italian painter.
Caroline Sophie Sordet-Boissonnas was a Swiss painter. She received honorable mention at the Salon of Lyons, 1897. She was a member of the Exposition Permanente Amis des Beaux-Arts, Geneva. She was a pupil of the School of Fine Arts, Geneva, under Professors F. Gillet and M. E. Ravel. She was principally a portrait painter. Considered a successful artist, her pictures are in Geneva, Lausanne, Vevey, Paris, Lyons, Marseilles, Dresden, and Naples.
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.
Kühne Beveridge was an American sculptor and the daughter of Phis Judson Beveridge and Ella Reutzger. She was the granddaughter of the 16th Governor of Illinois John L. Beveridge. She studied under William R. O'Donovan in New York City, and under Rodin in Paris. Among her works are a statue called "Rhodesia," "Rough Rider Monument," a statue called "Lascire," which belongs to Dr. Jameson, busts of Cecil Rhodes, King Edward VII, Grover Cleveland, Adlai Stevenson, Joseph Jefferson, Buffalo Bill, Bryan Mahon, Tom L. Johnson, and many others. Beveridge was first noticed as an artist in the US in 1892, when her busts of former President Cleveland and Mr. Jefferson called favorable attention to her.
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.
Isabelle Catherine van Assche-Kindt was a Belgian landscape painter from Brussels.
Amélie van Assche (1804–1880) 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.
Ethel Clement (1874–1920) was an American artist. Born in San Francisco in 1874, she was the daughter of Lyman H. Clement and Emma Frances ("Franc") Clement. She was a cousin to Amy Marcy Cheney. Her studies began in San Francisco with drawing from the antique and from life under Fred Yates. She studied in New York City under Kenyon Cox. At the Cowles Art School, Boston, and the Art Students League of New York, she spent three winters, and at the Académie Julian, Paris, three other winters, drawing from life and painting in oils under the teaching of Jules Joseph Lefebvre and Tony Robert-Fleury, supplementing these studies by that of landscape in oils under Georges Laugée in Picardy. Clement received several awards from California State Fair exhibits, and her pastel portrait of her mother was hung on the line at the Paris Salon of 1898. She was a Member of the San Francisco Art Association and of the Sketch Club of that city. She worked for a year as an art teacher at Miss West's School in San Francisco (1906-1907), and for two years as superintendent of the San Francisco Reading Room and Library for the Blind (1912-1914). Her portraits, figure subjects, and landscapes are numerous, and are principally in private collections, a large proportion being in San Francisco. Her later work included landscape painting in New England. In 1903, she exhibited a number of pictures in Boston which attracted favorable attention. She lived in San Francisco until 1916, when she and her mother, Franc, abruptly left Lyman behind and moved to Hillsborough, New Hampshire with her composer cousin Amy Beach. In New Hampshire, Ethel worked as a drawing teacher in the Hillsborough Public Schools. She soon developed a terminal illness and was cared for by Amy Beach for two years until her death in 1920.
