linda nochlin why have there been summary

Scholars working at the intersection of gender and art history have turned to different formats to rectify these omissions. The women who succeeded in the male-dominated world of art (such as Artemisia Gentileschi, Angelica Kauffman, or Elizabeth Vigée-Lebrun, to name a few) have been traditionally viewed as outliers in this restrictive narrative. While women’s political rights remained curtailed and even constricted during these decades, Spies-Gans contends that their artistic output made a substantial space for them in British and French artistic, and sometimes, political arenas.įor many art historians who specialize in gender, Linda Nochlin’s pivotal essay “Why Have There Been No Great Women Artists?” has been an important point of departure.‍ To paraphrase Nochlin, what are the biases and social structures that have hindered the examination of women artists? These shortcomings are found at the core of art historiography, which until recently, has privileged a Vasarian narrative that focuses on male genius and linear progress towards academic bona fides. By examining women’s art production in London and Paris through the lens of exhibition data, she argues that women artists had a more substantial presence in these European capitals than previous art historical narratives have suggested. The text defines the Revolutionary era generously to cover the years from 1760 to 1830, encompassing both the American and French Revolutions, as well as the Napoleonic Wars. Paris Spies-Gans’s impressive study investigates the influence of the Revolutionary era on women’s professional practice of art. New Haven: Paul Mellon Centre and Yale University Press, 2022.ģ84 pp. A Revolution on Canvas: The Rise of Women Artists in Britain and France, 1760–1830.

Linda nochlin why have there been summary