![]() ![]() ![]() ![]() ![]() Nochlin started his essay by questioning the common method of comparing the art made by men with the art mady by women. In revealing the failure of much academic art history, and a great deal of history in general, to take account of the unacknowledged value system, the very presence of an intruding subject in historical investigation, the feminist critique at the sem times lays bare its conceptual smugness, its meta-historial naivete.” “In the field of art history, the white Western male viewpoint, unconsciously accepted as the viewpoint of the art historian, may-and does-prove to be inadequate not merely on moral and ethical grounds, or because it is elitist, but on purely intellectual ones. But is that really the question we should be asking? Is it a relevant question even for today?įirst published in Art News while Nochlin was teaching the Women and Art class at Vassar College, New York, Why Have There Been No Great Women Artists became a key essay both for its methodological proposal for art history studies, but also for its approach to a patriarchal narrative of the art which all its theories are based on the art created by men: It was 1971 when art historian Linda Nochlin (Brooklyn, 1931 – Manhattan, 2017) shooke the art world with a shocking question: Why Have There Been No Great Women Artists? 2021 marks the 50 anniversary of this essay which was-and still is- a watershed for Art History and Feminism studies. ![]()
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