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By Linda Nochlin WHY HAVE THERE BEEN NO GREAT WOMEN ARTISTS?* By Linda Nochlin Linda Nochlin, professor of art history at Vassar College, recently published a major text on realism (Penguin). Her specialty is Courbet and nineteenth century French art, but she has written on a range of subjects from Grunewald to modern art. Why have there been no great women artists? The ques- tion is crucial, not merely to women, and not only for social or ethical reasons, but for purely intellectual ones as well. If, as John Stuart Mill so rightly suggested, we tend to accept whatever is as "natural," 1 this is just as true in the realm of academic investigation as it is in our social arrangements: the white Western male viewpoint, uncon- sciously accepted as the viewpoint of the art historian, is proving to be inadequate. At a moment when all disciplines are becoming more self-conscious—more aware of the na- ture of their presuppositions as exhibited in their own languages and structures—the current uncritical acceptance of "what is" as "natural" may be intellectually fatal. Just as Mill saw male domination as one of many social in- * A shortened version of an essay in the anthology Woman in Sexist Society: Studies in Power and Powerlessness. Edited by Vivian Gornick and Barbara K. Moran. New York: Basic Books, 1971. 2 ART AND SEXUAL POLITICS LINDA NOCHLIN 3 justices that had to be overcome if a truly just social order throughout history; to rehabilitate modest, if interesting were to be created, so we may see the unconscious domina- and productive, careers; to "rediscover" forgotten flower- tion of a white male subjectivity as one among many in- painters or David-followers and make a case for them; to tellectual distortions which must be corrected in order to demonstrate that Berthe Morisot was really less dependent achieve a more adequate and accurate view of history. upon Manet than one had been led to think—in other A feminist critique of the discipline of art history is words, to engage in activity not too different from that of needed which can pierce cultural-ideological limitations, the average scholar, man or woman, making a case for to reveal biases and inadequacies not merely in regard to the importance of his own neglected or minor master. the question of women artists, but in the formulation of Such attempts, whether undertaken from a feminist point the crucial questions of the discipline as a whole. Thus of view, like the ambitious article on women artists which the so-called woman question, far from being a peripheral appeared in the 1858 Westminster Review,2 or more re- subissue, can become a catalyst, a potent intellectual in- cent scholarly reevaluation of individual women artists, strument, probing the most basic and "natural" assump- like Angelica Kauffman or Artemisia Gentileschi,3 are tions, providing a paradigm for other kinds of internal certainly well worth the effort, adding to our knowledge questioning, and providing links with paradigms established of women's achievement and of art history generally. A by radical approaches in other fields. A simple question great deal still remains to be done in this area, but un- like "Why have there been no great women artists?" can, fortunately, such attempts do not really confront the if answered adequately, create a chain reaction, expanding question "Why have there been no great women artists?"; to encompass every accepted assumption of the field, and on the contrary, by attempting to answer it, and by doing then outward to embrace history and the social sciences so inadequately, they merely reinforce its negative implica- or even psychology and literature, and thereby, from the tions. very outset, to challenge traditional divisions of intellectual There is another approach to the question. Many con- inquiry. temporary feminists assert that there is actually a different The assumptions lying behind the question "Why have kind of greatness for women's art than for men's—They there been no great women artists?" are varied in range propose the existence of a distinctive and recognizable and sophistication. They run from "scientifically" proven feminine style, differing in both formal and expressive demonstrations of the inability of human beings with qualities from that of men artists and posited on the unique wombs rather than penises to create anything significant, character of women's situation and experience. to relatively open-minded wonderment that women, de- This might seem reasonable enough: in general, women's spite so many years of near equality, have still not achieved experience and situation in society, and hence as artists, is anything of major significance in the visual arts. different from men's, and certainly an art produced by a The feminist's first reaction is to swallow the bait and group of consciously united and purposely articulate attempt to answer the question as it is put: to dig up women intent on bodying forth a group consciousness of examples of insufficiently appreciated women artists feminine experience might indeed be stylistically identifi- LINDA NOCHLIN 5 4 ART AND SEXUAL POLITICS The problem lies not so much with the feminists' con- able as feminist, if not feminine, art. This remains within cept of what femininity in art is, but rather with a miscon- the realm of possibility; so far, it has not occurred. ception of what art is: with the naive idea that art is the No subtle essence of femininity would seem to link the direct, personal expression of individual emotional experi- work of Artemisia Gentileschi, Mme. Vigee-Lebrun, An- ence—a translation of personal life into visual terms. Yet gelica Kauffmann, Rosa Bonheur, Berthe Morisot, Suzanne art is almost never that; great art certainly never. The Valadon, Kaethe Kollwitz, Barbara Hepworth, Georgia making of art involves a self-consistent language of form, O'Keeffe, Sophie Taeuber-Arp, Helen Frankenthaler, more or less dependent upon, or free from, given tem- Birdget Riley, Lee Bontecou, and Louise Nevelson, any porally-defined conventions, schemata, or systems of nota- more than that of Sappho, Marie de France, Jane Austen, tion, which have to be learned or worked out, through Emily Bronte, George Sand, George Eliot, Virginia Woolf, study, apprenticeship, or a long period of individual Gertrude Stein, Anai's Nin, Emily Dickinson, Sylvia Plath, experimentation. and Susan Sontag. In every instance, women artists and The fact is that there have been no great women artists, writers would seem to be closer to other artists and writers so far as we know, although there have been many interest- of their own period and outlook than they are to each ing and good ones who have not been sufficiently investi- other. gated or appreciated—nor have there been any great Lith- It may be asserted that women artists are more inward- uanian jazz pianists or Eskimo tennis players. That this looking, more delicate and nuanced in their treatment of should be the case is regrettable, but no amount of manip- their medium. But which of the women artists cited above ulating the historical or critical evidence will alter the is more inward-turning than Redon, more subtle and nu- situation. There are no women equivalents for Michelangelo anced in the handling of pigment than Corot at his best? or Rembrandt, Delacroix or Cezanne, Picasso or Matisse, Is Fragonard more or less feminine than Mme. Vigee- or even, in very recent times, for Willem de Kooning or Lebrun? Is it not more a question of the whole rococo Warhol, any more than there are black American equiva- style of eighteenth-century France being "feminine," if lents for the same. If there actually were large numbers of judged in terms of a two-valued scale of "masculinity" "hidden" great women artists, or if there really should be versus "femininity"? Certainly if daintiness, delicacy, and different standards for women's art as opposed to men's— preciousness are to be counted as earmarks of a femin- and, logically, one can't have it both ways—then what are ine style, there is nothing fragile about Rosa Bonheur's feminists fighting for? If women have in fact achieved the Horse Fair. If women have at times turned to scenes of same status as men in the arts, then the status quo is fine. domestic life or children, so did the Dutch Little Masters, But in actuality, as we know, in the arts as in a hundred Chardin, and the impressionists—Renoir and Monet—as other areas, things remain stultifying, oppressive, and dis- well as Morisot and Cassatt. In any case, the mere choice couraging to all those—women included—who did not have of a certain realm of subject matter, or the restriction to the good fortune to be born white, preferably middle class certain subjects, is not to be equated with a style, much and, above all, male. The fault lies not in our stars, our less with some sort of quintessentially feminine style. LINDA NOCHLIN 7 hormones, our menstrual cycles, or our empty internal been called into question by a group of younger dissidents spaces, but in our institutions and our education—education within it. understood to include everything that happens to us from Underlying the question about women as artists, we find the moment we enter, head first, into this world of mean- the whole myth of the Great Artist—subject of a hundred ingful symbols, signs, and signals. The miracle is, in fact, monographs, unique, godlike—bearing within his person that given the overwhelming odds against women, or since birth a mysterious essence, rather like the golden blacks, so many of both have managed to achieve so much nugget in Mrs.
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