Why have there been no Great Women Artists?
The article, Why Have There Been No Great Women Artists?, by Linda Nochlin focuses on feminist controversy. The author fabricates the nature of the topic while at the same time insidiously gives its answer. The author aims to highlight how women have been oppressed over time in relation to undertaking art” ” institutionally made impossible for women to achieve artistic excellence or success, unlike men, no matter their potential (Nochlin, 1971). This article is significant to the modern society since it address gender balance not only in art but also in other aspects. However, its technical nature and the level of skewness tend to impress the female gender and could make a little sense to male gender. After a deep background look, the author stretches her thoughts and emphases on the feminist art and the philosophy of the feminist art over the past period.
The writer shows her unique feminist stance different from the recent feminist doings.[bookmark: _GoBack] Linda Nochlin energizes her argument from the sentiments that probes and provides a historical study. Using variety of facts, the author illustrates problems that are faced by women in the present society by providing a platform of argument on other issues that are faced socially by women. We should try to find out what is happening in art related organization rather than blaming and judging women (Nochlin, 1971).
It is apparent from the article that the author reveals evidence about the commencement of semi-religious role of artists that is more dominant in the nineteenth period. The author shows notable artists with emotionalized stories surrounding their success, for example in a situation of a weak position in their life (Nochlin, 1971). From the article, it is evident that the society does not let the women and the aristocrats life to dedicate their lives to art. Linda also deliberates on the fact that it is inappropriate to dispute that female artists are not the same as male artists. It is incorrect to say that the likes of Eskimo tennis players are great since it is an obvious fact they are not. Keenly reading the article, it is notable that in the same way there are great female writers, for example, Sylvia Plath elegance of writing” ” which can be matched to that of the male writers (Haynes & Pedersen, 2016). In such a way, the female artists can be equated to that of males irrespective of the era.
Nochlin shows an over bearing attention on the topic since she records that women have been put out of art since there is no an appropriate chance of taking part in it and growing the artists yet the modern society have revolutionize this thought. Also it’s worth noting that these claim is true as seen by other expert, it is not right to claim that art is needs some decent projections and training and only for men (Haynes & Pedersen, 2016). Notably, it is a misconception that great artists are born being great neither are they genius nor have some mysterious supremacies which make them notable artists. Every artist was once an apprentice or a student to a diverse artist while some had a family background that had some artists.
In conclusion, Lindas article gives a comprehensive study on the topic of femininity and art although she emotionally draws unnecessary extraneous details that educational institutions were not accessible to the females as opposed to male. She presents facts that the society must look into to enable female arts to develop. Although it is disheartening that most of the upcoming artists could only lookup to male artists it is also correct to say that female artistic empowerment could change this view for a better future.
Haynes, R., & Pedersen, C. (2016). Acting out: performing feminisms in the contemporary art museum.
Journal of Australian Studies, 40(2), 203-214.Nochlin, L. (1971). Why have there been no great women artists? The feminism and visual culture reader, 229-233.