No Great Women Artists

Jenny Saville, Propped, 1992 (image source)

The essay Why Have There Been No Great Women Artists by Linda Nochlin, written in 1971, discusses why women have been unable rise to greatness in the world of art. The emphasis Nochlin puts on the question does not take away from the fact that there are (and have been) great female artists, but challenges the reader to examine the social hierarchy that has validated the question.(1)

Throughout art history, the white Western male viewpoint has both controlled the narrative and oppressed anyone different than themselves. Therefore, we can conclude that the criteria for greatness has come from this school of thought. The notion of genius, for one, is something that needs to be scrutinized. According to Nochlin, even Piaget has confessed that genius is something that is built over time, practice, and hard work, not something magical that springs up in a vacuum. How then, could a woman achieve genius when she has neither the means nor the opportunity to study seriously? She was not even allowed to study from nude models, a basic exercise for apprentices or students, much less to be in the same room as the men. To say that there have been no great women artists is a bit disingenuous when you have the facts.(1)

Nochlin believes that rather than trying to dig up examples of great women artists in order to disprove her query, we should reexamine the criteria of greatness based on situation and experience. Since women have not been afforded the same opportunities as men throughout history, then it is unfair to expect the same level of aptitude on a massive scale. This is not to say that we should box in female art as “feminist” because art is not a gendered expression, but rather take into consideration that despite all the obstacles and lack of training women have still managed to have a voice in the industry albeit from a different perspective.(1)

Rosa Bonheur, according to Nochlin, is one of the most successful female artists of all time. Her success was entirely situational because of the change in politics and criteria during that time. Historical paintings were falling out of fashion while landscapes and still life were gaining traction. These criteria were essential in Bonheurs rise. She was able to study from life and use it in her paintings, something she would not have been able to do if large scale grandiose scenes were still in demand. Her success didn’t stop her from being conflicted about her sexuality and her profession. She even felt the need to speak on it in her biography where she states that, if “...you see me dressed as I am [in men’s trousers], it is not at all with the aim of making myself interesting...but simply in order to facilitate my work.” This is an example of how the power structure has, in a sense, brainwashed society. To be different bears an explanation. A woman wearing trousers is perfectly normal today, but during Rosa’s time it was an impropriety she felt compelled to explain. The reason Nochlin uses Rosa Bonheur as an example is quite simply because now that the rules are changing women are able to compete on a more level playing field.(1)

The struggle has not entirely ended with Rosa, though. There are still obstacles that are ingrained into our culture. Until white men are no longer the voice of historians there will always be a struggle for women and minorities. Nochlin advises us not to use that as an excuse. She challenges women (or any outsiders) to face up to history and exploit this position in order to rise to greatness because “disadvantage is not an intellectual position.” The situation calls for courage not acceptance.(1)

The artwork above is that of British artist Jenny Saville. I believe Saville is successfully changing the narrative for female artists through her content as well as her popularity. This painting was up for auction for £3 million which tells me that her work is valued by art collectors. Saville is known for her large nude portraits that fall outside the normal standard of beauty. In fact, most of her work is done with very dramatic close ups of abstracted body parts in challenging perspectives meant to make you feel uncomfortable. I chose this example because it illustrates the ability for a woman to excel when given the same opportunity as a male. Women can sit in on the nude figure drawing classes now. It’s getting easier for women to be a serious part of the conversation. We just need to keep pushing the barriers in order to completely break away from the idea of the “token” female artists like Frida and O’Keefe that somehow managed greatness despite their differences.(2)

Notes
  1. Nochin, Linda, “Why Have There Been No Great Women Artists,” in Woman in Sexist Society: Studies in Power and Powerlessness, ed. Vivian Gornick and Barbara K. Moran (New York: Basic Books, 1971), 1-42.
  2. Sotheby’s, The Groundbreaking Self-Portrait That Launched Jenny Saville’s Career, in Sotheby’s, accessed September 22, 2021, https://www.sothebys.com/en/articles/the-groundbreaking-self-portrait-that-launched-jenny-savilles-career.