Pauline Boty (6 March 1938 – 1 July 1966) was a British painter and co-founder of the 1960s' British Pop art movement of which she was the only acknowledged female member. Boty's paintings and collages often demonstrate a joy in self-assured femininity and female sexuality, as well as criticism (both overt and implicit) of the "man's world" in which she lived. Her rebellious art, combined with her free-spirited lifestyle, has made Boty a herald of 1970s' feminism.

Pauline Veronica Boty was born in Carshalton, Surrey, in 1938 into a middle-class Catholic family. The youngest of four children, she had three older brothers and a stern father who made her keenly aware of her position as a girl. In 1954 she won a scholarship to the Wimbledon School of Art, which she attended despite her father's disapproval. Boty's mother, on the other hand, was supportive, having herself been a frustrated artist who had been denied parental permission to attend the Slade School of Fine Art.

Boty earned an Intermediate diploma in lithography (1956) and a National Diploma in Design in stained glass (1958). Her schoolmates called her "The Wimbledon Bardot" on account of her resemblance to the French film star Brigitte Bardot. Encouraged by her tutor Charles Carey to explore collage techniques, Boty's painting became more experimental. Her work showed an interest in popular culture early on. In 1957 one of her pieces was shown at the Young Contemporaries exhibition alongside work by Robyn Denny, Richard Smith and Bridget Riley.

She studied at the School of Stained Glass at the Royal College of Art from 1958 to 1961. She had wanted to attend the School of Painting, but was dissuaded from applying as admission rates for women were much lower in that department. Despite the institutionalised sexism at her college, Boty was one of the stronger students in her class, and in 1960 one of her stained-glass works was included in the travelling exhibition Modern Stained Glass organised by the Arts Council. Boty continued to paint on her own in her student flat in west London and in 1959 she had three more works selected for the Young Contemporaries exhibition. During this time she also became friends with other emerging Pop artists, such as David Hockney, Derek Boshier, Peter Phillips and Peter Blake.

While at the Royal College of Art, Boty engaged in a number of extracurricular activities. She sang, danced, and acted in risqué college revues, published her poetry in an alternative student magazine, and was a knowledgeable presence in the college's film society, especially in regard to European new wave cinema. She was also an active participant in Anti-Ugly Action, a group of RCA students involved in the stained glass, and later architecture, courses who protested against new British architecture that they considered offensive and of poor quality.

Boty was at her most productive two years after graduating from college. She developed a signature Pop style and iconography. Her first group show, "Blake, Boty, Porter, Reeve," which was held in November 1961 at A.I.A. Gallery in London, is recognised as one of the earliest British Pop art shows. She exhibited twenty collages, including Is it a bird, is it a plane? and a rose is a rose is a rose, which demonstrated her interest in drawing from both high and low popular culture sources in her art (the first title references the Superman comic, the second quotes the American expatriate poet Gertrude Stein).

The following spring Boty, Peter Blake, Derek Boshier and Peter Phillips were featured in Ken Russell's BBC Monitor documentary film Pop Goes the Easel, which was aired on 22 March 1962.

Boty's appearance in Pop Goes the Easel marked the beginning of her brief acting career. She landed roles in an Armchair Theatre play for ITV ("North City Traffic Straight Ahead", 1962) directed by Philip Saville and an episode of the BBC series Maigret ("Peter the Lett", 1963). She also appeared on stage in Frank Hilton's comedy Day of the Prince at the Royal Court, and in Riccardo Aragno's (from the novel by Anthony Powell) Afternoon Men at the New Arts Theatre. (Boty, a regular on the club scene in London, was also a dancer on Ready Steady Go!). Although acting was lucrative, it was a distraction from painting, which remained her main priority. Yet the men in her life encouraged her to pursue acting, as it was a more conventional career choice for women in the early 1960s. The popular press picked up on her glamorous actress persona, often undermining her legitimacy as an artist by referring to her physical appearance. Scene ran a front-page article in November 1962 that included the following remarks: "Actresses often have tiny brains. Painters often have large beards. Imagine a brainy actress who is also a painter and also a blonde, and you have Pauline Boty."