The history of early modern women’s art is one of praise and prejudice. A story of ‘othering’ the female artist, transmuting ‘her’ into ‘the acknowledged ‘outsider’, the maverick ‘she’ as opposed to the presumed neutral ‘one’.’ A narrative that speaks of female artists as a separate artistic species, viewed with suspicion, or brushed aside with indifference by a male-centric art world. Too often, historic artworks by women have been carelessly misattributed to their male contemporaries, overlooking the female contribution. Meanwhile, those women recognised and lauded as ‘greats’ have been, and too often are, viewed as isolated phenomena, praised excessively for their artistic achievements.