![]() ![]() When they did paint, she noted, the activity was derided as entertainment for upper-class women who wanted to cultivate a cultured aspect - a.k.a. “As late as 1893, ‘lady’ students were not admitted to life drawing at the Royal Academy in London,” Nochlin wrote, “and even when they were, after that date, the model had to be ‘partially draped.’ ” It was a skill - “learned or worked out, either through teaching, apprenticeship or a long period of individual experimentation.” Yet, throughout history, women have regularly been denied access to these types of mentoring relationships.įor centuries, women were also prohibited from studying nudes - a foundational aspect of Western art. ![]() She then proceeded to dismember the question’s premise point by well-argued point.Īrt wasn’t just some miraculous channeling of artistic endowment, she noted. “First we must ask ourselves who is formulating these ‘questions,’ ” wrote Nochlin, “and then, what purposes such formulations may serve.” ![]() The piece examined this commonplace question, along with its negative implications. In 1971, art historian Linda Nochlin published a bombshell essay in ARTnews magazine titled, “Why Have There Been No Great Women Artists?” ![]()
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