The female art historians had to confront a domain standing for art history without art women, having initiated a canon exclusively comprising of inordinate rulers. The historical process of artistic creation and the representation has no meaning if there is a lack of understanding about social meaning and symbol operations of gender. She levitated the question of women art to challenge all other social and institutional factors in the study of the history of art. Nochlin realized a problem of the paradigm shift with the way in which amendments of art history aimed at involving women in the canon. Therefore, everyone needs specific training and experience in this field. Every artist ones went through the educational training of art. Moreover, the great artist is not born genius with mysterious powers that makes them great. She argues that it is not right to consider art as being different from other fields, which need proper training opportunities. The knowledge of arts belong to men, and women could only study art as hobbies but not career. Most arts educational institutions were readily available to women as to men. Training opportunities in the field of art were favorable to male. According to Nochlin, the reason that explains the lack of greatness for female artists is the lack of education opportunities for female artists in the field.
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