Feminist Art

"Mira Schor's collected critical art essays are witty, insightful, incisive. As artist, writer, and magazine editor, she shows us cracks in the art world's walls. She is up-to-date, on target. In a controversial field, she is a bold and confrontational critic". -- Nancy Spero

"An interesting and original collection. A must for all those interested in women artists and the women who have written about them."--Linda Nochlin, author of "Representing Women

"Kristen Frederickson and Sarah Webb have provided us with a missing link, a truly feminist art history that connects with the work done in the 1970s and thankfully ignores the 'post-feminist' hiatus. "Singular Women is a model for future scholarship on women's art. If only the books it inspires are as rigorous, vigorous, varied, and readable as this one."--Lucy Lippard, author of "The Pink Glass Swan: Selected Feminist Essays on Art

"The most provocative, challenging, and intimate writing to appear in feminist art history since Linda Nochlin launched the field with her essay 'Why Are There No Great Women Artists?' Thirty years later there are both great women artists and great women writers. This book assembles some of the best and boldest among them. Not afraid to address the boring, the failed, the neglected, or the masterpiece, "Singular Women sets the standard for feminist art history of the twenty-first century."--Peggy Phelan, author of the survey essay in" Art and Feminism, ed. Helena Reckitt

"This important volume addresses the vexed question whether the traditional monograph, rightly under suspicion in recent years, can be reinvented to serve feminist art history well. Its excellent--and varied--essays answer with a confident and convincing affirmative, demonstrating how we can talk about women's art practice without abandoning the biographical and social stories that enable and illuminate it."--Janet Wolff, author of "Resident Alien: Feminist Cultural Criticism

"Contributes newunderstandings to the now familiar problems of writing biographies of artists and, in particular, writing about a woman artist. It re-inscribes the woman artist in the discourse while probing--through a variety of approaches--the possibi

This reference organizes and describes the primary and secondary literature surrounding Mary Stevenson Cassatt, Berthe Morisot, Eva Gonzales, and Marie Bracquemond, four major women Impressionist artists. The Impressionist group included several women artists of considerable ability whose works and lives were largely ignored until the advent of feminist art criticism in the early 1970s. They studied, worked, and exhibited with their male counterparts including Degas, Manet, Monet, and Pissarro. The entries provide extensive coverage of the careers, critical reception, exhibition history, and growing reputations of these four female artists and discuss women Impressionists in general as they shared the challenges of becoming accepted as professional artists in late 19th-century society.

A new and original interpretation of Impressionism and nineteenth-century art and culture by a noted feminist art historian.

This book is a pioneering reading of Impressionism from a feminist perspective by a noted art historian. Norma Broude analyzes the philosophical underpinnings of landscape painting in the late nineteenth century discussing the critical misconceptions attached to Impressionism, in particular the work of Monet. She explores the theory of Romanticism and the historiography of Impressionism as well as scientific writings of the nineteenth century. The book challenges present art historical thinking, applying feminist critiques to the art, literature, and philosophy of the nineteenth century.

"An original and provocative book with brilliant flashes of insight into Impressionism's relationships to Romanticism, science, and Modernism". Marilynn Lincoln Board Women's Art Journal

A major task confronting today's scholars is the reclamation from near oblivion of a multitude of works of art, literature, music, scholarship, and other creative enterprises by eighteenth-century women. This fascinating collection provides a multifaceted approach to understanding the roles played by women as both creators of and subjects within works of art in the eighteenth century.