ABSTRACT Women have contributed to “paleoart” working in collaboration with scientists, using vertebrate fossils to reconstruct vanished worlds, and directly shaping the way humans imagine the distant past. “Backboned” animals of former times have been portrayed singly or in groups and were often set in landscape scenes. Women paleoartists in America and Europe began working in the nineteenth century often through family association, such as pioneers Orra White Hitchcock, Graceanna Lewis, and Mary Morland Buckland. Mainly using traditional two-dimensional styles, they portrayed ancient vertebrate fossils in graphite and ink drawings. Paleoartist Alice Bolingbroke Woodward introduced vibrant pen and watercolor reconstructions. Although female paleoartists were initially largely unrecognized, in the twentieth century they gained notice by illustrating important books on prehistoric vertebrate life. Paid employment and college and university training increased by the late nineteenth to early twentieth centuries, with larger institutions providing stable jobs. The “Dinosaur Renaissance” of the late 1960s gave a boost to new paleo-artistry. Women paleoartists became more prominent in the later twentieth to twenty-first centuries with the development of new art techniques, computer-based art, and use of the internet. Increasingly, there is encouragement and support for women paleoartists through the Science, Technology, Engineering, the Arts, and Mathematics (STEAM) movement.