Linda Nochlin
Born
in New York City, New York, The United States
January 30, 1931
Died
October 29, 2017
Genre
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Why Have There Been No Great Women Artists?
15 editions
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published
1971
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Women, Art, and Power and Other Essays
15 editions
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published
1988
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Realism
15 editions
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published
1971
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The Body in Pieces: The Fragment as a Metaphor of Modernity
12 editions
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published
1995
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Women Artists: The Linda Nochlin Reader
by
8 editions
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published
2015
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Representing Women
4 editions
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published
1999
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The Politics of Vision: Essays on Nineteenth-century Art and Society
13 editions
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published
1989
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Courbet
5 editions
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published
2007
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Misère: The Visual Representation of Misery in the 19th Century
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Bathers, Bodies, Beauty: The Visceral Eye (The Charles Eliot Norton Lectures)
2 editions
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published
2006
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“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.”
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“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.”
― Women, Art, and Power and Other Essays
― 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.”
― Realism: (Style and Civilization)
― Realism: (Style and Civilization)
Topics Mentioning This Author
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The History Book ...: * ARCHITECTURE | 114 | 457 | Jan 23, 2019 07:01PM |