Feminist art history-A literature review
This paper aims at exploring the works of some famous feminist art historians such as Linda Nochlin, Norma Broude, Griselda Pollock, and Rozsika Parker, who focused their literature on the issue of women and art history from the 19th century through the 20th century. Broude states that female feminist art history students are of the belief that they have to rewrite art (Broude & Garrard 1982, 183). However, Broude and Garrard challenges this assumption by inquiring the “what and how” female feminist art history students would go about achieving the task of rewriting art, and what led to this notion of rewriting the history of art and what they intend to achieve by
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The Victorian feminist art writers attributed natural explanation to women’s arts by establishing that there are different spheres for women artist and male artist (Pollock & Parker 2013,4). Nonetheless, while Nochlin took a defensive approach in evaluating women and art, Parker and Pollock took an entirely different approach they examined women and art from a historical and ideological position (Peterson & Mathew 1987, 327). Pollock and Parker identified that the legacy of the Victorian views on women’s art resulted in a change of perspective from history to nature and from sociology to biology, thus instead of evaluating women and art through the lens of history and sociology, they are analyzed women and art in terms of nature and biology. Therefore, as a consequence people are of the belief that women lack of the talent and natural predisposition to create significant art, meanwhile not all Victorian writers are responsible for this notion, like Elizabeth Ellet (Pollock and Parker 2013, 10). The evaluation contrives by the Victorian writers is consequential to the struggle of women artists in the realm of art (Pollock and Parker 2013, 44), thus for women artist to prevail in art they have to overcome the ideology built around their work.