Old Mistresses: Women, Art and Ideology
How was it possible, by the later twentieth century, to have erased women as artists from art history so comprehensively that the idea of ‘the artist’ was exclusively masculine? Why was this erasure more radical in the twentieth century than ever before? Why is everything that compromises greatness in art coded as ‘feminine’? Has the feminist critique of Art History history yet effected real change? With a new Preface by Griselda Pollock, this new edition of a truly groundbreaking book offers a radical challenge to a women-free Art History. Parker and Pollock’s critique of Art History’s sexism leads to expanded, inclusive readings of the art of the past. They demonstrate how the changing historical social realities of gender relations and women artists’ translation of gendered conditions into their works provide keys to novel understandings of why we might study the art of the past. They go further to show how such knowledge enables us to understand art by contemporary artists who are women and can contribute to the changing self-perception and creative work of artists today.
What people are saying - Write a review
We haven't found any reviews in the usual places.
Other editions - View all
abstract Academy American art history art practice Artemisia Gentileschi beautiful Berthe Morisot bourgeois Carriera child colour conﬂicts contemporary contradictions craft creativity critics culture deﬁned deﬁnitions discourse domestic dominant eighteenth century Elisabeth Vigée-Lebrun Elisabetta Sirani embroidery exhibition female ﬁgure feminine stereotype feminist art ﬁeld ﬁg ﬁnd ﬁne arts ﬁrst ﬂowers forms Frankenthaler Gallery gender genre Gentileschi Gwen John Harriet Hosmer Helen Frankenthaler history of art Hosmer Judith Labille-Guyard language Leonor Fini Linda Nochlin male artists Mary masculine meanings men’s modern art Morisot mother Musée Museum nature needlework nineteenth century Nochlin notion objects oil on canvas Old Mistresses painter painting patriarchal picture portrait position produced professional reﬂection Renaissance representation represented role Rozsika Parker sampler sculpture self-portrait sexual difference signiﬁcance Sirani social society Sofonisba Anguissola speciﬁc status still-life structures Surrealist Sutherland Harris symbolic Three Sisters Playing traditional Victorian Vigée-Lebrun woman women artists women in art women’s art women’s movement