Across early modern Europe, the use of the hand as a tool, full of vigor, and comparatively, attentive to both medium and content, remained at the forefront of artistic practice. For many artists, particularly women, a question of refining the skilled work of the hand became central to understanding the gendered nature of art itself and the limits of contemporary artistic education. This thesis broadly considers the changing nature of women’s artistic education between the seventeenth and eighteenth centuries, guided by the work of the woman artist through print culture and self-instruction. With central case studies exploring the artistic texts of Giovanna Garzoni, Élisabeth-Sophie Chéron, and Catherine Perrot, this thesis traces the private means by which women artists utilized rising access to print culture for artistic instruction in domestic spaces, commensurate with mass production and expansion of printed volumes in Europe between the seventeenth and eighteenth centuries.