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Linda Nochlin

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Linda Nochlin


Born
in New York City, New York, The United States
January 30, 1931

Died
October 29, 2017

Genre


Linda Nochlin was an American art historian, university professor and writer. A prominent feminist art historian, she was best known as a proponent of the question "Why Have There Been No Great Women Artists?", in an essay of the same name published in 1971.

Her critical attention has been drawn to investigating the ways in which gender affects the creation and apprehension of art, as evidenced by her 1994 essay "Issues of Gender in Cassatt and Eakins". Besides feminist art history, she was best known for her work on Realism, specifically on Gustave Courbet. Complementing her career as an academic, she served on the Art Advisory Council of the International Foundation for Art Research. In 2006, Nochlin received a Visionary Woman Award] from
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Average rating: 4.24 · 3,575 ratings · 338 reviews · 78 distinct worksSimilar authors
Why Have There Been No Grea...

4.33 avg rating — 1,876 ratings — published 1971 — 15 editions
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Women, Art, and Power and O...

4.27 avg rating — 368 ratings — published 1988 — 15 editions
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Realism

3.93 avg rating — 215 ratings — published 1971 — 15 editions
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The Body in Pieces: The Fra...

3.79 avg rating — 204 ratings — published 1995 — 12 editions
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Women Artists: The Linda No...

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4.40 avg rating — 124 ratings — published 2015 — 8 editions
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Representing Women

4.23 avg rating — 87 ratings — published 1999 — 4 editions
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The Politics of Vision: Ess...

4.02 avg rating — 66 ratings — published 1989 — 13 editions
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Courbet

4.11 avg rating — 53 ratings — published 2007 — 5 editions
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Misère: The Visual Represen...

3.86 avg rating — 37 ratings2 editions
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Bathers, Bodies, Beauty: Th...

4.45 avg rating — 20 ratings — published 2006 — 2 editions
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More books by Linda Nochlin…
Quotes by Linda Nochlin  (?)
Quotes are added by the Goodreads community and are not verified by Goodreads. (Learn more)

“The acceptance of woman as object of the desiring male gaze in the visual arts is so universal that for a woman to question or draw attention to this fact is to invite derision, to reveal herself as one who does not understand the sophisticated strategies of high culture and takes art "too literally," and is therefore unable to respond to aesthetic discourses. This is of course maintained within a world - a cultural and academic world - which is dominated by male power and, often unconscious, patriarchal attitudes. In Utopia - that is to say, in a world in which the power structure was such that both men and women equally could be represented clothed or unclothed in a variety of poses and positions without any subconscious implications of dominance or submission - in a world of total and, so to speak, unconscious equality, the female nude would not be problematic. In our world, it is.”
Linda Nochlin

“But in actuality, as we all know, things as they are and as they have been, in the arts as in a hundred other areas, are stultifying, oppressive, and discouraging to all those, women among them, who did not have the good fortune to be born white, preferably middle class and, above all, male. The fault lies not in our stars, our hormones, our menstrual cycles, or our empty internal spaces, but in our institutions and our education--education understood to include everything that happens to us from the moment we enter this world of meaningful symbols, signs, and signals.”
Linda Nochlin, Women, Art, and Power and Other Essays

“Degas, more than any other Realist, looked upon the photograph not merely as a means of documentation, but rather as an inspiration: it evoked the spirit of his own imagery of the spontaneous, the fragmentary and the immediate. Thus, in a certain sense, critics of Realism were quite correct to equate the objective, detached, scientific mode of photography, and its emphasis on the descriptive rather than the imaginative or evaluative, with the basic qualities of Realism itself. As Paul Valéry pointed out in an important though little known article: ‘the moment that photography appeared, the descriptive genre began to invade Letters. In verse as in prose, the décor and the exterior aspects of life took an almost excessive place.… With photography… realism pronounces itself in our Literature’ and, he might have said, in our art as well.”
Linda Nochlin, Realism: (Style and Civilization)

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