随着文艺复兴时期的人文主义为教育，成长和成就开辟了个人机会，少数女性超越了性别角色的期望。其中一些女性学会在父亲的工作室里画画，其他人则是高贵的女性，她们的生活优势包括学习和实践艺术的能力。当时的女性艺术家像男性艺术家一样，专注于个人肖像，宗教主题和静物画。少数佛兰德和荷兰女性成功，有肖像和静物图片，但也比意大利女性描绘的家庭和团体场景更多。 Levina Teerlinc（有时也被称为Levina Teerling）画了一些微缩肖像，这些肖像画是亨利八世时期英国宫廷的最爱。这位佛兰芒出生的艺术家在她的时代比汉斯·霍尔拜因（Hans Holbein）或尼古拉斯·希利亚德（Nicholas Hilliard）更成功，但没有任何作品可以归功于她的确定性。她被称为Catarina和Catherina，她是安特卫普的画家，由她的父亲Jan van Sanders Hemessen教授。她以她的宗教画和肖像而闻名。
As the humanism of the Renaissance opened up personal opportunities for education, growth and achievement, a few women transcended the expectations of gender roles. Some of them learn to paint in their father’s studio, others are noble women, and their life advantages include the ability to learn and practice art. Female artists at the time, like male artists, focused on personal portraits, religious themes and still lifes. Few Flemish and Dutch women succeeded, with portraits and still life pictures, but also more family and group scenes than Italian women. Levina Teerlinc (sometimes referred to as Levina Teerling) painted miniature portraits that were the favorite of the British courts of Henry VIII. The Flemish-born artist was more successful in her time than Hans Holbein or Nicholas Hilliard, but no work can be attributed to her certainty. She is known as Catarina and Catherina, she is a painter of Antwerp, taught by her father Jan van Sanders Hemessen. She is known for her religious paintings and portraits.