That first essay was sparked by a question put to Nochlin in 1970 by New York gallerist and dealer of Old Masters Richard Feigen (who died this week) when he sought her advice on collecting paintings by women artists. ‘Why Have There Been No Great Women Artists?’ and its 2001 sequel, subtitled ‘Thirty Years After’, are now republished in a fiftieth-anniversary edition, accompanied by a foreword by academic Catherine Grant. But she didn’t get to see the avalanche of artistes of all kinds – film and theatre directors, actors, photographers, musicians, comedians, artists, chefs and more – mainly men, that landed in a heap at the foot of the #MeToo movement. Author of the essay ‘Why Have There Been No Great Women Artists?’ ( ArtNews, 1971), in which her dissection of the notion of ‘great men’, the ‘male genius’ and the systemic privileging of white men launched a new era of feminist art history, Nochlin witnessed the trailer to the detonation of Weinstein’s career. Three weeks after The New York Times published an investigation into sexual harassment allegations against Harvey Weinstein, the American art historian and pioneering feminist Linda Nochlin died. 50 years on: assessing the legacy and limits of the feminist art-historian’s pioneering essay ‘Why Have There Been No Great Women Artists?’
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