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Linda Nochlin (née Weinberg; January 30, 1931 – October 29, 2017) was an American art historian, Lila Acheson Wallace Professor Emerita of Modern Art at New York University Institute of Fine Arts, and writer. As a prominent feminist art historian, she became well known for her pioneering 1971 article "Why Have There Been No Great Women Artists?" published by ARTnews. Early life and education Linda Natalie Weinberg was born the daughter of Jules Weinberg and Elka Heller (Weinberg) in Brooklyn, New York and raised in the borough's Crown Heights neighborhood. She attended Brooklyn Ethical Cultural School, a progressive grammar school. She received her Bachelor of Arts in Philosophy from Vassar College in 1951, her Master of Arts in English from Columbia University in 1952, and her Ph.D in the history of art from the Institute of Fine Arts at New York University in 1963. Academic career After working in the art history departments at Yale University, the Graduate Center of the City University of New York (with Rosalind Krauss), and Vassar College, Nochlin took a position at the Institute of Fine Arts, where she taught until retiring in 2013. In 2000, Self and History: A Tribute to Linda Nochlin was published, an anthology of essays developing themes that Nochlin worked on throughout her career. Her critical attention was drawn to investigating the ways in which gender affects the creation and apprehension of art, as evidenced by her 1994 essay "Issues of Gender in Cassatt and Eakins". Besides feminist art history, she was best known for her work on Realism, specifically on Gustave Courbet. Complementing her career as an academic, she served on the Art Advisory Council of the International Foundation for Art Research. Nochlin was the co-curator of a number of landmark exhibitions exploring the history and achievements of female artists. 2007 — "Global Feminisms" at the Brooklyn Museum. 1976 — "Women Artists: 1550-1950" (with Ann Sutherland Harris) at the Los Angeles County Museum of Art. Global Feminisms In March 2007, Nochlin co-curated the feminist art exhibition "Global Feminisms" alongside Maura Reilly at the Elizabeth A. Sackler Center for Feminist Art at the Brooklyn Museum, New York City, United States. It was one of the first international exhibitions (see alsoWACK! Art and the Feminist Revolution) that was exclusively dedicated to feminist art, and it featured works from approximately eighty-eight women artists from around the world. The exhibit featured art in all forms of media, such as photography, video, performance, painting and sculpture. The goal of the exhibit was to move beyond the dominating brand of Western feminism, and instead showcase different understandings of feminism and feminist art from a global perspective. Women Artists: 1550-1950 Alongside Global Feminisms, Nochlin also co-curated Women Artists: 1550-1950, the first international art exhibition created solely by female artists on December 21, 1976. It debuted eighty-three artists from 12 countries, and contained roughly 150 European American paintings. In the exhibition catalogue, Ann Sutherland Harris and Linda Nochlin stated "Our intention in assembling these works by European and American women artists active from 1550 to 1950 is to make more widely known the achievements of some fine artists whose neglect can in part be attributed to their sex and to learn more about why and how women artists first emerged as rare exceptions in the sixteenth century and gradually became more numerous until they were a largely accepted part of the cultural scene." As a four-city exhibition, it was originally located at the Los Angeles County Museum of Art in Los Angeles, California, United States. It was then moved and displayed at the Jack S. Blanton Museum of Art at the University of Texas at Austin, Texas. It then continued its journey and was displayed at the Carnegie Museum of Art in Pittsburgh, Pennsylvania, and completed the exhibition at the Brooklyn Museum in New York City, the same place Global Feminisms was displayed. Feminist art history In 1971, ARTnews published Nochlin's essay "Why Have There Been No Great Women Artists?", in which she explored assumptions embedded in the title's question. She considered the very nature of art along with the reasons why the notion of artistic genius has been reserved for male geniuses, such as Michelangelo. Nochlin argued that significant societal barriers have prevented women from pursuing art, including restrictions on educating women in art academies and "the entire romantic, elitist, individual-glorifying, and monograph-producing substructure upon which the profession of art history is based ". The thirty-year anniversary of Nochlin's ground-breaking inquiry informed a conference at Princeton University in 2001. The book associated with the conference, "Women artists at the Millennium", includes Nochlin's essay ""Why Have There Been No Great Women Artists?" Thirty Years After". In the conference and in the book, art historians addressed the innovative work of such figures as Louise Bourgeois, Eva Hesse, Francesca Woodman, Carrie Mae Weems, and Mona Hatoum, in the light of the legacies of thirty years of feminist art history. In her 1994 essay "Starting from Scratch: The Beginnings of Feminist Art History," Nochlin reflected on her awakening as a feminist and its impact on her scholarship and teaching: "In 1969, three major events occurred in my life: I had a baby, I became a feminist, and I organized the first class in Women and Art at Vassar College." Nochlin deconstructed art history by identifying and questioning methodological presuppositions. She was an advocate for "art historians who investigate the work before their eyes while focusing on its subject matter, informed by a sensitivity to its feminist spirit." Orientalism Following Edward Said's influential 1978 book, Orientalism, Nochlin was one of the first art historians to apply theories of Orientalism to the study of art history, specifically in her 1983 paper, "The Imaginary Orient." Her key assertion was that Orientalism must be seen from the point-of-view of 'the particular power structure in which these works came into being," in this case, 19th century French colonialism. Nochlin focused primarily on the 19th century French artists Jean-Leon Gérôme and Eugène Delacroix, who both depicted 'orientalist' themes in their work, including, respectively, The Snake Charmer and The Death of Sardanapalus. In Gérôme's "The Snake Charmer," from the late 1860s, Nochlin described how Gérôme created a sense of verisimilitude not only in his rendering of the scene with such realistic precision one almost forgets a painter painted it, but in capturing the most minute details, such as meticulously painted tiles. As a result, the painting appears to be documentary evidence of life in the Ottoman court while, according to Nochlin, it is in fact a Westerner's vision of a mysterious world. In Delacro.... Discover the Linda Reilly popular books. 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