Paula Modersohn-Becker was the first woman artist to paint herself nude and furthermore, the first artist to paint herself nude while pregnant. Her repeated themes of moving self-portraits and portraits of women and children are well integrated within the foundations for the Feminist Art movement. She has had great influence on the work of contemporary female artists dedicated to similar subject matter, including most notably Frida Kahlo, Tracey Emin, and Cindy Sherman.
Delaunay’s textile designs extended the range of her influence into fashion, home decor and the theater. Her ability to introduce art into regular life by creating and wearing clothing, and living in spaces that were of her own design, can be seen as an early form of performance art, inspiring contemporary artists such as Marina Abramovic.
Due to the combined quality of her artwork and groundbreaking treatment and representation of the female nude Suzanne Valadon is considered one of the greatest early female artists. As muse to many of the most famous Impressionists, as well as an artist often making self-portraits she is one of the most well-documented and “seen” French artists. Thus she has become an important role model for following generations of female artists.
For more than 200 years after her death, Leyster’s work was either attributed to her husband Molenaer or Frans Hals. This seems partly due to their similarity in style, but there also seems to have been deliberate forgery: in 1893, Leyster’s signature was discovered underneath a forged signature of Hals on the 1630 painting called The Carousing Couple or The Jolly Companions.
Because Leyster’s legacy was overlooked for centuries of art-making and history, it is difficult to say precisely who has been influenced by Leyster’s work. It would seem that many of the artists who studied or cited Frans Hals or Molenaer as an influence may well be citing Leyster without realizing it. The realist paintings of Netherlandish painters such as Jacoobus van Looy and Isaac Iraels owe much to the style of Dutch Golden Age painting, where she was a leader among her contemporaries. Similarly, many key figures in both Impressionism and Realism studied the works of Dutch Golden Age painting as a means of considering the interaction between interior spaces and human life. Her impact is most likely larger than modern art historians can document.
Often described as ”a pioneer” Angelica Kauffman took everywhere that she went by storm and has a long-lasting legacy. During her lifetime she was one of the highest paid and most sought after portrait artists, second only to her great friend and colleague, Sir Joshua Reynolds. Her skill and dedication to painting was phenomenal and unfailing and as such a vast variety of autobiographies and articles have been written on her career.
Artemisia Gentileschi’s legacy has been controversial and complex. Although well-respected and well-known during her lifetime, after her death she was almost entirely omitted from art historical accounts of the period. This is partly because her style was often similar to that of her father and many of her works were mis-attributed to Orazio.
Since her early family portraits, Anguissola’s works were permeated with elements of storytelling that elevated regular, everyday scenes into witty visual plays. Her ability to represent a believable likeness imbued with the personality of the sitter later became one of the hallmarks of Baroque portraiture.
Frankenthaler’s soak-stain technique gave rise to the Color Field movement, having a decisive impact on the work of the other artists associated with this style, such as Morris Louis, Kenneth Noland, and Jules Olitski. In addition its striking departure from first-generation Abstract Expressionism, Color Field art is often seen as an important precursor of 1960s Minimalism, with its spare, meditative quality.
Schneemann’s groundbreaking works on film have been an inspiration for later artists, like Peggy Ahwesh and Abigail Child, and provided them with a historic precedent for feminist filmmaking. Her performance and photographic works also set a precedent for artists like Ana Mendieta and Hannah Wilke to explore ideas ranging from goddess imagery, the generative and subjective female form, and ideals of beauty. Even Annie Sprinkle’s Public Cervix Announcement (1990) would not be possible without Schneemann’s exploration of intimacy in her artwork. Many exhibitions throughout the 1990s and 2000s have been dedicated to feminist artists of these later generations in direct communication with works from Schneemann’s oeuvre. As new generations of artists and women discover her works, the dialogue Schneemann initiated in the early 1960s about women, their bodies, the sensual and the intimate continues to engage viewers, artists, and critics.
Herrera’s legacy also lies in the example of her late-blooming career. Like other women artists such as Louise Bourgeois, her life has been dedicated to art, but she did not find an audience for her work until she was very old. Her legacy, then, is not just about her painting but about her tenacious creative perseverance in the face of an indifferent, oar biased, world.