In the late nineteenth-century, four artists of the Impressionist movement shared the challenge of being female and seeking acceptance as professional artists. These women of vast talent and ability have received increasing attention by scholars over the last 25 years. They each approached Impressionism in their own unique and individual ways. Although they did associate with each other on a professional and sometimes personal basis, they never formed a group based on gender. They also worked alongside some of the best-known male Impressionist artists, such as Monet, Manet, Degas, and Pissarro.

These four female Impressionists are Mary Stevenson Cassat (1844-1926), Berthe Morisot (1841-1916), Eva Gonzales (1849-1883), and Marie Bracquemond (1840-1916). Although they were women, it would be misleading to identify this group simply based upon their gender. They were each very different and had their own way concerning the arts and politics of that time. The majority of their collaborations were among the other male Impressionists rather than amongst themselves (The Women Impressionists: A Sourcebook, Intro Xiii).

There was a largely critical reaction to Impressionism as a whole, a

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