The inclusion of feminism in Israeli art was seen as irrelevant in the 1970s, when Israel was seen as a state of gender equality. But in the following decades, amid vast changes in Israeli society, women worked hard to make themselves seen and have their stories told in the wider world of Israeli art.

 While women are often excluded from the historical narrative of Israeli art-making, women artists made significant contributions to the canon of Israeli art throughout the twentieth century. Depicting landscapes, creating ceramics, and painting beautiful portraits, many female artists made significant contributions to the development of the Bezalel Art school and Israeli modern art. In 1952, the artistic Group of Ten was founded, to use a modern language in order to express the Israeli experience and landscape. 

Jewish women assimilating into a changing American society across the twentieth century navigated often conflicting gender roles. As they strove to achieve upward social mobility, they adapted Jewish assumptions of what women, especially married women, should do to accommodate American norms for middle class women. Their collective accomplishments registered in political activism, organizational creativity, strong support for feminism, religious innovation, and educational achievement in the face of antisemitism, stereotypes, and denigration.

Liliane Atlan (1932-2011) was a post-World War II French Jewish writer whose stylistically innovative plays, poetry, and narratives represent themes rooted in Jewish tradition. In a literary world shattered by the reality of the death camps, Atlan questions Messianic faith, patriarchal values, and humanistic philosophy.

During World War II, only when the Yishuv’s Council of Women’s Organizations called for the recruitment of women was an agreement reached with the British authorities to enlist women living in Palestine into the forces. The first to join were in the ATS (Auxiliary Territorial Serivce) followed by the WAAF (Women’s Auxiliary Air Force).

Rokhl Auerbakh (1903–1976), a member of the Polish-Jewish literary elite, ran a soup kitchen in the Warsaw Ghetto while simultaneously recording the voices of its captive inhabitants in her writing. She ultimately survived the war by passing herself off as an "Aryan," and went on to found the Department for the Collection of Witness Testimony at Yad Vashem in Jerusalem.

Rose Ausländer was an acclaimed German-language poet, whose poetry reflects her awe for the natural world, her experience during the Holocaust, her travels through Europe, and the close relationships she had with friends and family, particularly her mother. The bulk of Ausländer’s work was published after 1965, when she settled in Düsseldorf, Germany.

Most Jewish women artists from Austria have been forgotten due to the male domination of the Austrian art sphere and the Holocaust. However, many Jewish female artists in Austria created influential work and established their own system of education and their own organizations, leading to a flourishing female art world until 1938.

Created at the beginning of the twentieth century, B’nai B’rith Women expanded its role during both World Wars. Although gender roles after World War II reverted to a more conventional structure, in the 1960s BBW shifted its efforts to reflect the antipoverty and feminist campaigns of the period.

Babatha, daughter of Shim’on, a Jewish landowner who lived in Roman Arabia, owned a document archive found in a cave in the Judaean desert. Babatha’s archive is an extremely important resource for many issues, especially on the question of Jewish women’s legal position in Greco-Roman Palestine during the second century CE.

Miriam Baratz was a founding member of Deganyah Aleph, the first socialist Zionist farming commune in pre-state Israel. She advocated for communal childcare and education, and for a cooperative and egalitarian economic structure. The gender paradigm she helped establish at Deganyah set a precedent of egalitarianism for the entire kibbutz movement.

The daughter of a Chinese mother and a Russian Jewish father, Tatjana Barbakoff used her mixed heritage as inspiration for stunning and innovative dance performances. Her expressive technique entranced critics, while her costumes inspired dozens of painters and sculptors to capture her likeness. In 1944, she was killed in Auschwitz.

Barbara (Monique Andrée Serf) was a French singer and composer whose melancholy style rose to national significance. Born in Paris in 1930, after World War II Barbara studied music, rising to fame in the 1960s. Her Jewish identity and wartime experience as a child influenced her non-conformist persona as an artist, and through her song lyrics, she advocated for Franco-German reconciliation.

Psychologist Dorothy Walter Baruch championed the health development of children as an educator, author, psychologist, and as a community leader. Her psychodynamic approach to child development focused on the relationship between physical, emotional, and intellectual development and on rechanneling children’s feelings through play and art therapy.

Born in Wilkomir, Lithuania, in 1925, the much-awarded Rivka Basman began writing poetry at an early age. She composed poetry during the Holocaust, and continued to publish books of lyrical poetry long after. Only late in life did she directly address her experiences during the Holocaust.

Formally created in 1938 and 1939, the Baum group was a German anti-Fascist resistance organization. Initially its work consisted of making and distributing anti-Fascist propaganda, but on May 18, 1942, the Baum group joined the effort to set fire to an anti-Soviet exhibit at a public park in Berlin. The damage was minimal and shortly thereafter, the Gestapo arrested hundreds of Jews in retaliation and twenty-two members of the Baum group were executed.