They differ greatly from others created in Germany during the same period, as they are characterized by bright colors, emphasis on line, and simplified forms.
While female artists have been involved in making art throughout history, their work often has not been as well acknowledged as that of men.
Often certain media are associated with women artists, such as textile arts.
Convents were made subsidiary to male abbots, rather than being headed by an abbess, as they had been previously.
In Pagan Scandinavia (in Sweden) the only historically confirmed female runemaster, Frögärd i Ösby, worked ca. In Germany, however, under the Ottonian Dynasty, convents retained their position as institutions of learning.
They have often encountered difficulties in training, travelling and trading their work, and gaining recognition.
Beginning in the late 1960s and 1970s, feminist artists and art historians created a Feminist art movement that overtly addresses the role of women in the art world and explores the role women in art history There are no records of who the artists of the prehistoric eras were, but studies of many early ethnographers and cultural anthropologists indicate that women often were the principal artisans in Neolithic cultures, in which they created pottery, textiles, baskets, painted surfaces and jewelry. Extrapolation to the artwork and skills of the Paleolithic era suggests that these cultures followed similar patterns.
Artists from the Medieval period include Claricia, Diemudus, Ende, Guda, Herrade of Landsberg and Hildegard of Bingen.
In the early Medieval period, women often worked alongside men.
Among the earliest European historical records concerning individual artists is that of Pliny the Elder, who wrote about a number of Greek women who were painters, including Helena of Egypt, daughter of Timon of Egypt, Other women include Timarete, Eirene, Kalypso, Aristarete, Iaia, and Olympias.