Violet Helen Evangeline Teague (21 February 1872 – 30 September 1951) was an Australian artist, noted for her painting, printmaking and her critical writings on art.

[3] Violet traveled to Europe to study painting, from 1893-96 with French artist Ernest Blanc-Garin in his Brussels studio then 1896-97 at Hubert von Herkomer's school, Bushey, Hertfordshire.

A summer school was offered at Charterisville that Fox and Tucker had established in the old mansion above the Yarra River in East Ivanhoe, the lease of which they had taken over from Walter Withers in 1893.

The women, including Ina Gregory, Mary Meyer, Bertha Merfield, Henrietta Irving, Ursula Foster and Helen Peters were accommodated in rooms of the stone house and a chaperon and housekeeper looked after them and Violet may have been their tutor.

[6] Teague exhibited regularly at the Paris Salons, and her portrait of a Colonel Rede in 1897 at the Société des Artistes Français brought her accolades.

[11][12] One of the most unusual aspects of Teague's oeuvre, one that lacks almost any precedents in Australian art, was the creation of altar paintings and banners for Protestant churches.

[8] In 1921, Teague exhibited an altar piece (now at St. Paul's Cathedral, Melbourne)[13] for a new church at Kinglake, Victoria, built as a memorial to soldiers who died in World War I. Inscriptions to accompany the picture were again prepared by Traill, and placed on the base of the work.

[8] She was an outlier, in letters to The Argus, The Age, and The Herald, announcing Hermannsburg group exhibition, in taking a position that Aboriginal people had survived '100 years of our occupation,' cheated of their inheritance[16][17][18] by colonialism, thus defying the eugenicist justification that they were an innately inferior 'dying race'.