}��ݴ|��w�_h�}��-co���ˆ:��K���{� NMWA's new exhibition presents more than a dozen captivating works from the artist's 33-year career. (Full disclosure: I had the good fortune to be her student as an undergraduate.) Vasari, the fountainhead for much of this critical vocabulary, found a way to praise the Florentine nun painter Plautilla Nelli by noting that she had been able to copy drawings by her fellow Dominican, Fra Bartolommeo, who practiced the High Renaissance style he most admired. Statements such as Michelangelo’s, echoed by others, have been very influential. trying to get a post up at #USIH and having some trouble w/ the blogging interface. In 1971, Linda Nochlin published her groundbreaking article “Why Have There Been No Great Women Artists?,” a passionate and rigorous attack on nearly all the received ideas of her day. Diligenza (attention, diligence, care, painstaking), applied primarily to females, was somewhat ambivalent, but it carried mostly negative meanings. Her description of the topics to be covered acknowledged how this was new territory, and how it would involve working from disciplines outside art history (Nochlin “Starting from Scratch: The Beginnings of a Feminist Art History,” in Broude and Garrard, The Power of Feminist Art, New York 1994, 130-139). Jacobs notes that Guido Reni’s work was occasionally described as da donna, fiamminga, and senza forza, while his Bolognese contemporary Elisabetta Sirani received virile and grande. Her best known essay is titled "Why Have There Been No Great Women Artists?," in which she examines the societal reasons that prevented women from gaining recognition in the art world. She then launches into the question at hand. (Join us, 7pm EST https://us02web.zoom.us/webinar/register/WN_4UEPpvNUS9SK1Kp_5W24jw) https://s-usih.org/2020/11/mormon-history-association-mormon-women-and-the-complicated-history-of-suffrage/ #twitterstorians #womenalsoknowhistory #ElectionDay #Vote. In a collaboration with the Smithsonian Institution’s Archives of American Art (AAA), NMWA’s Betty Boyd Dettre Library and Research Center (LRC) has mounted an exhibition displaying documents from Nochlin’s personal archives, which the AAA acquired in 2018. Although they could be asked separately, Butler’s research has proved how consistently in the 19th century the subject of women’s rights turned into a meditation on the value or the dangers of democracy’s implicit promise of universal suffrage. Nochlin’s essay was widely acclaimed, as it provided the foundations on which to build alternative understandings of art history. Her best known essay is titled "Why Have There Been No Great Women Artists?," in which she examines the societal reasons that prevented women from gaining recognition in the art world. Indeed, there have been great women artists, they just have produced in obscurity and have never made it into the history books. At the time of her death she was a Lila Acheson Wallace professor of art history emerita at NYU. �ԑ��7�r��=|���[���z�� iA����e��ۦ� ���s���|�bgw�`opuc��gJ꫘��{?�`��w���_�ٔ����f� Nochlin argued—and it has been a mainstay of the feminist critique of the discipline of art history—that white male subjectivity has been normalized as natural, an unquestioned acceptance that this is the way things are. Although, as a probable self-portrait it surely generated more interest because of her “fame” than if it had been another subject. Nochlin’s most famous text is the 1971 essay, originally published in ARTnews, titled “Why Have There Been No Great Women Artists?,” in which she investigated the institutional roadblocks which have prevented women from ascending to the top ranks of art throughout history. “ isms ” simply took the place of “ greatness ” for females of the art. Extra readings, please print them out and actively read them, has suffered scholarship. 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