Michaelina Wautier

Michaelina Wautier, also Woutiers (–1689), was a painter from the Southern Netherlands. Only since the start of the 21st century has her work been recognized as that of the outstanding female artist of Flemish Baroque painting, her works having been previously attributed to male artists, especially her brother Charles. Much of the work tracking and attributing her paintings has been done by the Belgian art historian Katlijne Van der Stighelen.

Wautier was noted for the variety of subjects and genres that she worked in. This was unusual for female artists of the time who were more often restricted to smaller paintings, generally portraits or still-lifes.

Biography Two Girls as Saint Agnes and Saint Dorothea, Royal Museum of Fine Arts Antwerp. Born in around 1614 in Mons, Belgium, in the French-speaking region of Wallonia, Michelle Wautier (Michaelina was the Latinate version of the name adopted as her artist nom de plume in a family of nine children. Scholars assume that she came from a wealthy family, as her work shows an in-depth knowledge of classical mythology and symbolism. She appears to have begun her artistic career later in life, around the age of 39, however, her talent evidently did not long go unnoticed. Possibly as a result of her brother Charles’ contacts in the army as he had previously been an officer she was commissioned to do a portrait of the aristocratic general Andrea Cantelmo. That painting has since disappeared, but its existence is known through an engraving of it done by Paulus Pontius. Charles was also a painter, and the two moved to Brussels in 1645, where they both remained unmarried and shared a studio.

After arriving in Brussels, they lived in a mansion near the Chapel Church in the Marolles district. Both Michaelina and Charles seemed to have been active in business, particularly in real estate. Both also were almost certainly well-trained in art, but it is not known where or with whom. Little else is known about Wautier's life, and much of her biographical information is based on scholarly conjecture and analysis of her available works.

Works

Michaelina Wautier painted in small formats as well as more ambitious canvases with as main subjects history, religion and mythology. At the time, large format paintings were still considered a preserve of male painters. Wautier multiplied representations of genre scenes, historical paintings, as well as more detailed representations of flower garlands.

Her first self-portrait, painted in 1649, was long mistakenly associated with the Italian painter Artemisia Gentileschi. It remains one of Wautier's most famous paintings. The painting is attributed to Gentileschi in Walter Shaw Sparrow's 1905 book Women Painters of the World. It was not until 1672 that the painter Elisabeth-Sophie Chéron produced what is considered the first female self-portrait in France.

The painting named The Triumph of Bacchus (1650, Kunsthistorisches Museum in Vienna) is often cited as one of the most representative of her works. It was originally held in the collection of the Archduke Leopold Wilhelm of Austria. However, her work fell into oblivion after her death. Some art historians link this absence to the attribution of her paintings to Thomas Willeboirts Bosschaert, Jacob van Oost or her brother Charles Wautier. Additionally, art scholar Katlijne van der Stighelen notes that there was a long period between her last painting (believed to be in 1659) and her death in 1689, at the age of around 75, during which she was not producing paintings or staying in the public eye. Further, unlike some of her female contemporaries, including the Italians Gentileschi and Elisabetta Sirani, her self-portrait was never issued as a print to perpetuate her memory. In fact, eventually that self-portrait itself was later attributed to Gentileschi. Another retrospective, Michaelina Wautier, Painter, was organized by the Kunsthistorisches Museum, Vienna, in cooperation with the Royal Academy of Arts, London. The exhibition was displayed at the Kunsthistorisches Museum 30 September 2025 – 22 February 2026 and at the Royal Academy of Arts 27 March – 21 June 2026. A catalog accompanied the exhibit .