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The Union of Women Painters and Sculptors (Union des Femmes Peintres et Sculpteurs) was founded in 1881 in Paris as a society for the promotion of female artists. The Union was founded by sculptor and educator Hélène Bertaux (Mme. Leon Bertaux) and had as many as 450 members at its peak. Noted members include Virginie Demont-Breton, who became president after Bertaux in 1894, and artist Marie Bashkirtseff.
Opportunities for women within the Parisian art world in the 19th century were limited. The influential École des Beaux-Arts did not begin admitting women until 1897. Prior to that year, the only state-sponsored option for women’s art education was the National School of Drawing for Young Women ( École Nationale de Dessin pour les Jeune Filles ), which received less funding than men’s schools.  Additionally, women were prohibited from joining many other existing exhibition groups, schools, and public art spaces. 
The Union’s goals were to create a community to educate and support female artists and by displaying their work.  They published the Journal des femmesartistes newsletter, where members of the Union could communicate and comment. They also founded and organized the annual Salon des Femmes as an exhibition of women’s art exclusively. The Salon was intended to be a non-traditional and non-hierarchical exhibition, including decorative arts and giving new and established artists equal access to preferred hanging spaces. The first Salon des Femmes occurred in January 1882, and the Union continued to organize and publicize the event eachyear.  At the 1896 Salon des Femmes, 295 women exhibited their work. In addition to these efforts, members of the Union, especially Bertaux, campaigned for women’s entry into the Ecole des Beaux-Arts and for their eligibility to compete for the Prix de Rome art prize. 
The Académie Julian was a private art school for painting and sculpture founded in Paris, France, in 1867 by French painter and teacher Rodolphe Julian (1839–1907) that was active from 1868 through 1968. It remained famous for the number and quality of artists who attended during the great period of effervescence in the arts in the early twentieth century. After 1968, it integrated with ESAG Penninghen.
Suzanne Duchamp-Crotti was a French Dadaist painter, collagist, sculptor, and draughtsman. Her work was significant to the development of Paris Dada and modernism and her drawings and collages explore fascinating gender dynamics. Due to the fact that she was a woman in the male prominent Dada movement, she was rarely considered an artist in her own right. She constantly lived in the shadows of her famous older brothers, who were also artists, or she was referred to as "the wife of." Her work in painting turns out to be significantly influential to the landscape of Dada in Paris and to the interests of women in Dada. She took a large role as an avant-garde artist, working through a career that spanned five decades, during a turbulent time of great societal change. She used her work to express certain subject matter such as personal concerns about modern society, her role as a modern woman artist, and the effects of the First World War. Her work often weaves painting, collage, and language together in complex ways.
The Beaux-Arts de Paris is a French grande école whose primary mission is to provide high-level arts education and training. This is classical and historical School of Fine Arts in France. The art school, which is part of the PSL Research University, is located on two sites: Saint-Germain-des-Prés in Paris, and Saint-Ouen.
The Salon, or rarely Paris Salon, beginning in 1667 was the official art exhibition of the Académie des Beaux-Arts in Paris. Between 1748 and 1890 it was arguably the greatest annual or biennial art event in the Western world. At the 1761 Salon thirty-three painters, nine sculptors, and eleven engravers contributed. From 1881 onward, it has been managed by the Société des Artistes Français.
Jules Joseph Lefebvre was a French figure painter, educator and theorist.
The Salon d'Automne, or Société du Salon d'automne, is an art exhibition held annually in Paris, France. It is held on the Champs-Élysées, between the Grand Palais and the Petit Palais, in mid-October. The first Salon d'Automne was created in 1903 by Frantz Jourdain, with Hector Guimard, George Desvallières, Eugène Carrière, Félix Vallotton, Édouard Vuillard, Eugène Chigot and Maison Jansen.
Paul-Albert Besnard was a French painter and printmaker.
Paul Delaroche was a French painter who achieved his greater successes painting historical scenes. He became famous in Europe for his melodramatic depictions that often portrayed subjects from English and French history. The emotions emphasised in Delaroche's paintings appeal to Romanticism while the detail of his work along with the deglorified portrayal of historic figures follow the trends of Academicism and Neoclassicism. Delaroche aimed to depict his subjects and history with pragmatic realism. He did not consider popular ideals and norms in his creations, but rather painted all his subjects in the same light whether they were historical figures like Marie-Antoinette, figures of Christianity, or people of his time like Napoleon Bonaparte. Delaroche was a leading pupil of Antoine-Jean Gros and later mentored a number of notable artists such as Thomas Couture, Jean-Léon Gérôme, and Jean-François Millet.
Eva Gonzalès was a French Impressionist painter.
An École des Beaux-Arts is one of a number of influential art schools in France. It is the cradle of Beaux-Arts style in architecture and city planning that thrived in France and the United States during the end of the nineteenth century and the first quarter of the twentieth century. The most famous and oldest École des Beaux-Arts is the École nationale supérieure des Beaux-Arts, now located on the left bank in Paris, across the Seine from the Louvre, at 14 rue Bonaparte. The school has a history spanning more than 350 years, training many of the great artists in Europe. Beaux Arts style was modeled on classical "antiquities", preserving these idealized forms and passing the style on to future generations.
Sara Wells Page (1855–1943) was a British female artist, portrait and figurative painter, of Victorian and Edwardian period. During her lifetime she widely exhibited at Parisian salons and British galleries, including at the Royal Academy of Arts. Three of her paintings are in Wolverhampton Art Gallery.
Jean Baptiste Auguste Dampt (1854–1945) was a French sculptor, medalist, and jeweler.
Joseph Csaky was a Hungarian avant-garde artist, sculptor, and graphic artist, best known for his early participation in the Cubist movement as a sculptor. Csaky was one of the first sculptors in Paris to apply the principles of pictorial Cubism to his art. A pioneer of modern sculpture, Csaky is among the most important sculptors of the early 20th century. He was an active member of the Section d'Or group between 1911 and 1914, and closely associated with Crystal Cubism, Purism, De Stijl, Abstract art, and Art Deco throughout the 1920s and 1930s.
Jules Marie Auguste Leroux was a French painter and illustrator. His younger brother Georges Paul Leroux was also a brilliant artist who won the Prix de Rome in painting in 1906 and was a member of the Académie des beaux-arts.
Hélène Bertaux, born Joséphine Charlotte Hélène Pilate was a French sculptor and women's rights advocate.
Louis Henri Nicot was a French sculptor born in Rennes on 12 February 1878 and who died In Paris 1944.
Angélique Mezzara, born Marie Angélique Foulon, was a French portrait painter and miniaturist, who frequently worked in pastels. During a time when few women were painters, she exhibited regularly for nearly 30 years at the Paris Salon, the major art event of the time. Two of her sons became sculptors, and a daughter exhibited with her at the Paris exhibition as a painter.
Henry d'Estienne was a French painter and a member of the Académie des Beaux-Arts.
Henri Beau was a French-Canadian Impressionist painter. He is noted for Chemin en été, La dispersion des Acadiens, L'arrivée de Champlain à Québec, and Les Noces de Cana. Beau is a largely forgotten artist due to his long absence from Canada. His widow Marie Beau worked towards establishing his reputation as an artist in Canada after his death. He was only recognized as a notable artist, decades after his death, with major retrospectives of his paintings celebrating his career by the Galerie Bernard Desroches in Montréal in 1974, and at the Musée du Québec in Québec City in 1987.
Charlotte Besnard, born Charlotte Dubray, was a French sculptor. She is perhaps best known as the wife of the successful painter Paul-Albert Besnard (1849–1934), whose career she did much to advance. Although she was well known for her own work in her day, she has since been largely forgotten.
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