It is tempting, as a feminist, to disagree and claim there have been great female artists, but Linda Nochlin is right. In her essay, ‘Why Have There Been No Great Women Artists?’ she explores the absence of women throughout the development of the art world showing that the lack of female artists is not a matter of them simply being overlooked but rather a series of institutional barriers.
Societal pressures to pursue a homemaking role rather than build an independent creative career often held women within the domestic sphere, but this was not the only barrier. Prior to the late 19th century, it was seen as improper for a woman to draw from a nude model, ultimately depriving them of the opportunity to create realistic human recreations. Also, admission to art academies often refused women, with the Académie Royale in France accepting only four women over its 150-year history. Women’s inability to travel without a chaperone, negotiate her own business dealings, and participate in discussions with other artists of the time also asserted the art world as male dominated.
Women who were able to start an artistic career did so however, through the facilitation of a man. In the case of Artemesia Gentileschi, it was her father who gave her access to the artistic trade. So even here, any level of independence was entirely limited. This is why we don’t see Gentileschi or Rosa Bonheur’s names listed alongside Michelangelo or Da Vinci.
The way we are taught art history is through the development of artistic pioneers, but without the ability to paint, draw or sculpt professionally, women did not pioneer anything in this context. At least, not on a scale which would enable the development of a new art movement. The absence of women from art courses is not, therefore, an issue of changing the narrative, but acknowledging the barriers and moving towards a more equal future. A future where women have the same chances to be listed amongst the greats as any man.
We also see a lot of art being focussed on femininity yet devised entirely by men. Women are subjects of beauty throughout history and lack their own autonomy within art. Women are to be looked upon not creators. It seems then a subconscious necessity for artists to be men to solidify this obsession with female objectification. What women would objectify herself through art?
Elizabeth Casement stated in The Collector that we cannot “conjure a mass of astonishingly great women artists from the past where they did not exist.” The future inclusion of women artists then is dependent upon the institutions which raise the artists and the artists themselves. However, it is important to note than one woman cannot make this change, but rather all artists and art lovers should advocate for inclusivity both at the professional and amateur level.
“Mural: Las Milagrosas: Tribute to Women Artists” by Franco Folini is licensed under CC BY-SA 2.0.
