Despite being referred to as one of “les trois grandes dames” (the three great ladies) of the Impressionist movement by the famous French art historian, Henri Focillon in 1928, the work of Marie Bracquemond was somewhat obscure until at least the 1980s.
Rimmington’s prolific practice in drawing, painting, writing, poetry, and photography gave significant substance to the British Surrealist movement, helping to secure its reputation both locally and overseas.
Carrington never achieved fame as an artist during her lifetime. This can be attributed the fact that she rarely exhibited, or even signed, her work, along with the fact that she was not working in the most current styles.
Schapiro was a leading voice in the development of the Feminist art movement. Through her art she helped to elevate the status of works often perceived as “craft” art and paved the way for female artists to embrace these materials, such as Polly Apfelbaum, Deborah Kass, and Mira Schor.
With her first exhibition at the Galerie de Beaune in 1937, Maar is considered one of the most significant Surrealist photographers.
Eileen Agar helped to shape the development of Surrealism in Britain, a contribution made all the more impressive by the fact that she was one of only a few women associated with the movement. Her work continues to be exhibited in galleries all across the world, while the impact of her aesthetics can also be seen in the work of contemporary artists crafting their own versions of Surrealism.
Unlike her few other female contemporaries, such as Bridget Riley, Boty refused to to negate her feminine side and was not overly concerned with seeming serious, intellectual or dispassionate at the expense of her true self. Boty instead celebrated these supposedly “feminine” traits. Her work came unabashedly from a woman’s perspective and it was emotionally engaged and celebratory towards women’s sexual desires.
By breaking down the barriers between art and life, Clark challenged received ideas about what art could or should be. Accordingly, she is a major reference point for contemporary artists dealing with the limits of conventional forms of art.
Hedda Sterne lived to be one hundred years old, and within those years had a prolific and unceasingly experimental artistic career. She was an early Surrealist, her beguiling and disturbing collages reminiscent of Dora Maar, but she achieved most of her fame when she was grouped with the Abstract Expressionists in New York in the 1940s and 1950s.
Varo and her work quickly became legendary in Mexico. Following her death, the art critics of Novedades called her “one of the most individual and extraordinary painters of Mexican art.”