![]() ![]() In her conclusion, she states: "I have tried to deal with one of the perennial questions used to challenge women's demand for true, rather than token, equality by examining the whole erroneous intellectual substructure upon which the question 'Why have there been no great women artists?' is based by questioning the validity of the formulation of so-called problems in general and the 'problem' of women specifically and then, by probing some of the limitations of the discipline of art history itself. The title of this essay is a reference to Linda Nochlins seminal 1971 article Why Have There Been no Great Women Artists.1 Nochlin argues not that. ![]() She divides her argument into several sections, the first of which takes on the assumptions implicit in the essay's title, followed by "The Question of the Nude," "The Lady's Accomplishment," "Successes," and "Rosa Bonheur." In her introduction, she acknowledges "the recent upsurge of feminist activity" in America as a condition for her interrogation of the ideological foundations of art history, while also invoking John Stuart Mill's suggestion that "we tend to accept whatever is as natural". Instead, she dismantles the very concept of. Wikipedia: In this essay, Nochlin explores the institutional – as opposed to the individual – obstacles that have prevented women in the West from succeeding in the arts. Nochlin refuses to handle the question of why there have been no great women artists on its own, corrupted, terms. The title refers to the iconic article of Linda Nochlin Why Have There Been No Great Women Artists written in 1971. ![]()
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