1« Nothing […] is more interesting, more poignant, and more difficult to seize than the intersection of the self and history. Where does biography end and history begin? How do one’s own memories and experiences relate to what is written in the history books? », Nochlin Linda, « Starting from Scratch: the Beginnings of feminist Art History » [1994], dans Nochlin Linda, Women Artists : The Linda Nochlin Reader, édité par Maura Reilly, Londres, Thames & Hudson, 2015, p. 188-199, ici p. 198 (à partir de cette page, cette référence est citée sous le titre raccourci : « Starting from Scratch »).
2« Intellectual achievement, creation or appreciation of the arts – literature, music, painting, dance – were considered the highest goals, along with social justice. », Nochlin Linda, A Life of Learning, op. cit., p. 2.
3Voir Roth Moira, « Of Self and History: Exchanges with Linda Nochlin », dans Nochlin Linda, D’Souza Aruna (dir.), Self and History, op. cit., p. 175-200.
4« I must emphasize the overwhelming importance of the book, mainly the novel, in my intellectual and emotional formation. », Nochlin Linda, A Life of Learning, op. cit., p. 3.
5« a rare disease afflicting the normal human herd », ibid.
6Harpham Geoffrey Galt, Scholarship and Freedom, Cambridge (MA), Harvard University Press, 2020, p. 94.
7« In the absence of worldly experience – of love, of illness, of European history, of philosophy – the text and the act of reading the text were all there were. Thus I understood […] it purely, without the corruption offered by a “personal” view. », Nochlin Linda, A Life of Learning, op. cit., p. 3-4.
8« a sense of my own identity came into being along with that of the young hero (and surrogate for the author) Hershey Green, who was a Jewish kid like myself with a mind nourished by poetry and fiction like my own. », ibid., p. 6.
10« Quite honestly, I don’t remember that there was ever a time when I was disturbed, put off by, or even questioned the so-called “distortions” or “ugliness” of modern art, or the lack of recognizable subject in abstraction. That was what art was for me; it was something I was trying out in my own art classes. The notion that art was a formal language and that its shapes, color and structure were as important to its meaning as its content seemed obvious, natural as it were. », Nochlin Linda, « The Museum as Bildungsroman – My Life in Art, Trash and Fashion », dans Nochlin Linda, Making it Modern, op. cit., p. 261-272, ici p. 264. Linda Nochlin souligne.
11« What I am trying to convey is some sense of my position as the audience for art – not a unique one, although certainly rather special – as a child growing up in a fairly cultured, prosperous, leftist family in Brooklyn in the 30s and 40s, a family, and later, a group of friends for whom culture – art, music, dance, literature – was of overwhelming importance. », Nochlin Linda, The Body in Pieces: Fragment as a Metaphor of Modernity, Londres, Thames & Hudson, 1994, préface, s. p (à partir de cette page, cette référence est citée sous le titre raccourci : The Body in Pieces).
12« The space of the museum was our space, my space – more mine, more conducive to a sense of self and freedom than home. I never felt overawed or alienated in it. I would say it was home away from home, but actually it was far more exciting than home. The museum stimulated our adolescent imaginations with the heady perfume of contemporaneity and history. It bore the promise – at once dangerous and exhilarating – of the future, when we too would join the community of the arts and letters, and even change the course of their history. », Nochlin Linda, « The Museum as Bildungsroman », dans Nochlin Linda, Making it Modern, op. cit., p. 265 (à partir de cette page, cette référence est citée sous le titre raccourci : « The Museum as Bildungsroman »).
13Woolf Virginia, Un lieu à soi [1929], traduction de Marie Darrieussecq, Paris, Denoël, 2015.
14« Vassar students of the first generation had high aspirations and a sense of mission – to prove, through their lives, the virtues and utility of educating women. », Gordon Lynn, Gender and Higher Education in the Progressive Era, New Haven (CT), Yale University Press, 1990, p. 127.
15Poulson Susan L., Miller-Bernal Leslie (dir.), Challenged by Coeducation: Women’s Colleges since the 1960s, Nashville (TN), Vanderbilt University Press, 2006, p. 27 (à partir de cette page, cette référence est citée sous le titre raccourci : Challenged by Coeducation).
16« Vassar was not a man’s world. », Nochlin Linda, The Feminist Turn in the Social History of Art. Linda Nochlin, entretien avec Richard Cándida Smith, Los Angeles (CA), Getty Research Institute, 2000, p. 31 (à partir de cette page, cette référence est citée sous le titre raccourci : The Feminist Turn).
17« The Mary Conover Mellon Fund », Vassar Alumnae Magazine, no 6, juin 1949, p. 2.
18« A New Advisory Program for Vassar », ibid., p. 3.
19Voir Nochlin Linda, A Life of Learning, op. cit., p. 14.
20« Matriarchy too much for Binger, hits Vassar atmosphere, gets out », The Harvard Crimson, 2 juin 1951.
21« a more equable distribution of the faculty between the sexes is desirable and an inclusion of more married couples, now greatly in the minority. I do not believe that a matriarchy provides a wholesome atmosphere in which students are likely to develop satisfactorily. » Rapport présenté par Florence Wislocki au Vassar College Allumnae Council au sujet de la Mary Conover Mellon Foundation for the Advancement of Education, cité dans Poulson Susan, Miller-Bernal Leslie (dir.), Challenged by Coeducation, op. cit., p. 27.
22« PSYCHIATRIST OUT, CRITICIZES VASSAR ; Dr. Binger Voices Doubt That “Matriarchy” Provides Right Atmosphere For Students », The New York Times, 1er juin 1951, p. 25.
23Cité dans Nochlin Linda, « An Interview with Linda Nochlin », entretien avec Carolyn A. Cotton et Barbara B. Miller, The Rutgers Art Review, no 6, 1986, p. 79-91, ici p. 85, note 14.
24« from being a little bit outside, you can see the structures, the artificial structures that you think are natural. But what’s natural is not natural. », Nochlin Linda, Oral History Interview with Linda Nochlin, entretien avec James McElhinney, 9-30 juin 2010, « Oral History of Women in the Visual Arts », Archives of American Art, Smithsonian Institution, URL : https://www.aaa.si.edu/download_pdf_transcript/ajax?record_id=edanmdm-AAADCD_oh_292564 (consulté le 6 mars 2024).
25« characterized by a universal cynicism, a rather militant ennui, and a complete rejection of all accepted values », Nochlin Linda, « The Nature of Humanism », ms., 1950, Linda Nochlin papers, 1937-2017. Archives of American Art, Smithsonian Institution, boîte 1, dossier 46 [LN-AAA 1.46].
26« There is no constraint, none of the urgency of the man who knows that he alone is in the right, and all who disagree incredibly stupid, or evil, or both. As we read, we find that the doubt of the humanist Montaigne is a functional doubt. […] It is true that the individual humanist must doubt. It is also true (and in this, one of its main virtues lies) that the humanistic orientation is characterized by a lack of rigid authoritarian “credos” imposed from above. », ibid. Linda Nochlin souligne.
27Nochlin Linda, « Entretien avec Linda Nochlin », entretien avec Anne Lafont et Todd Porterfield, Perspective no 1, 2015, p. 63-76, ici p. 66.
28« My sense of history is a thick history; […] that takes years to absorb and assimilate and think about and critique. », Nochlin Linda, The Feminist Turn, op. cit., p. 54.
29Nochlin Linda, « Class Notes, Art History, 1950-1953 », Linda Nochlin papers, 1937-2017, LN-AAA 1.10.
32« his distaste for the philosophical implications of the teaching of the Munich Ordinarius of art history », Ackerman James S., « In Memoriam: Wolfgang Lotz, 1912-1981 », Journal of the Society of Architectural Historians, vol. 41, no 1, 1982, p. 5-6, ici p. 6. Lotz est le co-auteur avec Heydenreich de The Architecture in Italy 1400-1600 paru dans la série des Pelican History of Art que dirige l’historien de l’art allemand naturalisé britannique Nikolaus Pevsner (1902-1983).
33Voir Michels Karen, Transplantierte Kunstwissenschaft. Die deutschsprachige Kunstgeschichte im Amerikanischen Exil, Berlin, Akademie Verlag, 2008.
34« In academia, largely under the influence of German art-historical scholarship, a would-be scientific model came into use in the discussion of the work of art: one thinks back to founding fathers of the discipline of art history like Heinrich Wölfflin and his stringent historico-formal analysis of Renaissance and Baroque works – art history without artists – but any art history text book still depends largely on an empirical-analytical method of a sort. […] At its worst, scholarly analysis can sink to the dullest automatic-pilot academicism; at its best, it can reveal both the manifest and the latent content of an image to the viewer. And at its very peak, analytical art-historical writing can rise to the heights of the best ekphrastic description, in the work of such art historians as Meyer Schapiro or Leo Steinberg. », Nochlin Linda, « Sophie Calle : Word, Image and the End of Ekphrasis », dans Nochlin Linda, Women Artists : The Linda Nochlin Reader, op. cit., p. 395-416, ici p. 398.
35« I took four courses in art history and I loved it, but it was a debutante’s subject, I sure wasn’t going to major in it. », Nochlin Linda, The Feminist Turn, op. cit., p. 22.
36« That wasn’t necessarily true, but it was looked on that way, whereas philosophy was a very hard subject and in my snobbish little group you took the hard stuff. », Nochlin Linda, « An Interview with Linda Nochlin », art. cité, p. 81.
37« Schrecklich: ich werde […] zum Mädchenprofessor erniedrigt. », Lettre de Heinrich Wölfflin à Anna Bühler-Koller, 25 avril 1925, UB Bâle, fonds Heinrich Wölfflin.
38. « I never, in my early days, even dreamt of being an art historian or even knew such a thing existed, except perhaps vaguely from my uncle who had gone to the Fogg. I became an art historian more or less by accident. », Nochlin Linda, A Life of Learning, op. cit., p. 7.
39« I taught art history, fifteen pages ahead of my students, some of whom were my friends. », Nochlin Linda, The Feminist Turn, op. cit., p. 22.
40Philip Nochlin décède en 1960. Linda Nochlin conserve son patronyme après son remariage avec l’historien de l’architecture Richard Pommer, en 1968. Ils ont une fille, Daisy, en 1969.
41« My first mentor in the field of 19th century French art », Nochlin Linda, Gustave Courbet : a Study of Style and Society, New York (NY), Garland, 1976.
42. « In the beginning, I thought I had to know everything. », Nochlin Linda, « The Seminar as Bildungsroman », note manuscrite, 2005, Linda Nochlin papers, 1937-2017, LN-AAA 17.15.
43« my art-historical ancestors […] shaping the way I think about art and history, giving me a firm sense of tradition to hold on to or rebel against, as the case might be », Nochlin Linda, Bathers, Bodies, Beauty: the visceral Eye, Cambridge (MA), Harvard University Press, 2006, p. 297 (à partir de cette page, cette référence est citée sous le titre raccourci : Bathers, Bodies, Beauty).
44Voir Nochlin Linda, Les Politiques de la vision : art, société et politique au xixe siècle, Marseille, Jacqueline Chambon, traduction d’Oristelle Bonis, 1995, p. 5 (à partir de cette page, cette référence est citée sous le titre raccourci : Les Politiques de la vision).
45« I had that epiphany when I was with him, the feeling that I was in touch with history. », Nochlin Linda, The Feminist Turn, op. cit., p. 38.
46Friedländer Walter, David to Delacroix, Cambridge (MA), Harvard University Press, 1952.
47« I was aware that [he] slept through part of many of his classes, always to be shaken awake by his assistant to make some apposite remark as his eyes flicked open. », Nochlin Linda, « The Seminar as Bildungsroman », Linda Nochlin papers, 1937-2017, op. cit.
48« Here I was, thinking of myself as some kind of seminar superstar, empowering and empowered at once, and what had I actually been? A dozing, self-deceived old fool, laughable if mildly cherished, like old Friedländer in my own graduate-school days, snoring in the dark until shaken awake by his graduate assistant. », ibid.
49« Do I appear the funny old grotesque to my students? Do my students love me? Is this a particularly gender-related question? Should I even think about it? I am sure my old German guys never thought about it – or did they? », ibid.
50« I studied with great scholars – idiosyncratic, large-spirited, brilliant – who came from that tradition of German and Austrian humanistic scholarship that was Walter Neurath’s tradition as well. », Nochlin Linda, The Body in Pieces, op. cit. Cette conférence est donnée par Nochlin dans le cadre d’un cycle dédié à la mémoire du fondateur de la maison d’édition Thames & Hudson, Walter Neurath (1903-1967).
51« It is as hard for me to think of the seminar in general as it is for me to think of art in general or human nature in general: I can only think of specific cases and experiences; in this case, a propensity to expand the epistemological field to the breaking point, and get swept away in the process. », Nochlin Linda, « The Seminar as Bildungsroman », Linda Nochlin papers, 1937-2017, op. cit.
52Nochlin Linda, entretien avec James McElhinney, op. cit.
53« The Institute’s approach was more contextual, more rich in history, more interdisciplinary. », Nochlin Linda, « An interview with Linda Nochlin », entretien avec Pepe Karmel, Institute of Fine Arts Alumni Newsletter, no 33, 1996, p. 4-5 et p. 23, ici p. 4.
54« a time when such directions were decidedly unpopular, even dangerous, in McCarthytite America. », Nochlin Linda, The Body in Pieces, op. cit.
55Nochlin Linda, « An interview with Linda Nochlin », entretien avec Pepe Karmel, art. cité, p. 4.
56« […] the analogy to the contemporary political situation in which writers and artists were implicated. », Nochlin Linda, « The Seminar as Bildungsroman », Linda Nochlin papers, 1937-2017, op. cit.
57« Of course it wasn’t theory in the modern sense of the term: no Roland Barthes or Foucault or Derrida or Kristeva, but rather a routing slog through the history of aesthetics and criticism. I was lucky enough to have drawn Plato’s theories of art. I say lucky because as a former philosophy major, who had read some of the dialogues in Greek, and the wife of a philosophy professor, who taught Plato, I knew that Plato did not have a “theory of art” nor did any general conception of the arts even exist. », ibid.
58« […] a kind of critical deconstruction of what seemed like an obvious topos: “Plato’s theory of art”, and yet, on closer inspection, was anything but obvious, was, in fact, non-existent or wrongly understood. », ibid.
59« The work I did here – totally on my own, I might add – served as the basis of much of my art-historical production in the future. […] I was treading on the turf of Bakhtin and Jakobson avant la lettre. », ibid.
60D’Souza Aruna, « Fragments and Paradoxes: Linda Nochlin’s Theories of Art », dans Nochlin Linda, D’Souza Aruna (dir.), Self and History, op. cit., p. 7-16, ici p. 10-11.
61« posited as the fundamental structure of realist art, opposing it to the domination of metaphor in romantic and symbolist works », Nochlin Linda, « The Flowering of American Realism », dans San Antonio Museum Association (dir.), Real, Really Real, Super Real : Directions in contemporary American Realism, San Antonio (TX), Witte Memorial Museum, 1981, p. 25-35, ici p. 26 (à partir de cette page, cette référence est citée sous le titre raccourci : Real, Really Real, Super Real).
62Voir Jakobson Roman, Essais de linguistique générale (1. les fondations du langage), traduction de Nicolas Ruwet, Paris, Éditions de Minuit, 1963.
63Nochlin Linda, Les Politiques de la vision, op. cit., p. 16.
64« a terrible inrush of sighs », Nochlin Linda « An Interview with Linda Nochlin », entretien avec Pepe Karmel, art. cité, p. 82.
65Marx Karl, Le 18 Brumaire de Louis Bonaparte [1851], traduction de la 3e édition allemande de 1885, Paris, Éditions sociales, 1969, p. 9.
66Salomon Nanette, « The Art Historical Canon: Sins of Omission », dans Hartmann Joan, Messer-Davidow Ellen (dir.), (En)gendering Knowledge: Feminism in Academe, Knoxville (TN), University of Tennessee Press, 1991, p. 344-355.
67« […] working to undermine forms of ahistorical aestheticism and unrepentant antimodernism. », Sears Elizabeth, Schoell-Glass Charlotte, « An Émigré Art Historian and America: H. W. Janson », The Art Bulletin, vol. 95, no 2, 2013, p. 219-242, ici p. 221.
68Nochlin Linda, Realism and Tradition in Art, 1848-1900. Sources and Documents, Englewood Cliffs (NJ), Prentice-Hall, 1966.
69Nochlin Linda, Impressionism and Post-Impressionism, 1874-1904. Sources and Documents, Englewood Cliffs (NJ), Prentice-Hall, 1966.
70« on the nuts-and-bolts level of compiling a source book of writings by artists and critics in the years between 1848 and 1900, her two-volume anthology, in which one can find everything from Monet and Hodler to Bouguereau and Seurat, has long had the authority of a reference-book classic », Rosenblum Robert, « About Linda Nochlin », dans Nochlin Linda, D’Souza Aruna (dir.), Self and History, op. cit., p. 22.
71« I was fascinated by Courbet. I mean, nobody had to push me that way. I thought he was fascinating. Not that I always loved the actual work. […] But as a persona about what he did, about his combination of art and politics, he was absolutely – he was the perfect choice. », Nochlin Linda, entretien avec James McElhinney, op. cit.
72« Every generation needs to see things anew. The past is not all-sufficient. Meyer Schapiro was a “critical” art historian – he restated the problem. », Nochlin Linda, entretien avec Jean Martin, « Issues : a Visit with Linda Nochlin », The Art Book, vol. 7, no 3, 2000, p. 16-18, ici p. 17.
73« how political ideas get into art », Nochlin Linda, The Feminist Turn, op. cit., p. 43.
74« I was never antiformalist. I think without the study of form you’re not doing art history, it all comes out through the form. But what mediates between certain patterns of ideas and the work of art? How are these ideas expressed in the language of the work of art? », ibid.
75Schapiro Meyer, « Courbet et l’imagerie populaire » [1941], dans Style, artiste et société : essais, traduction de Daniel Arasse, Paris, Gallimard, 1982, p. 273-328.
76« He certainly does the kind of social history that interests me, which is how the social element is represented through form rather than merely through iconography. What interests me is the total structure of the work of art and its relation to the market. », Nochlin Linda, The Feminist Turn, op. cit., p. 125.
77« quite literally determined the course of my scholarly activity for the next 25 years », Nochlin Linda, « Meyer Schapiro’s Modernism » [1979], dans Nochlin Linda, Making it Modern, op. cit., p. 29-35, p. 34.
78« He demonstrated that one could grapple with a problematic oeuvre in all its stylistic vividness, and, at the same time, indeed, necessarily at the same time, with the politically charged historical situation from which the style emerged: in short, that style and history were inseparably linked in a most material and complex way. At the same time, he showed that one could unite the things one cared about most deeply in one’s life within one’s work, rather than keeping them in separate compartments. », ibid., Linda Nochlin souligne.
79« Didactic in the best sense of the word – that is to say, responsive to what his audience most needs to know at a given time. […] One is propelled along the pathways of his thought not so much by the ponderous movements of the dialectic, it seems to me, as by the heady impulsion of sheer intellectual excitement (although the two are not of course mutually exclusive). One is eager to follow Schapiro’s argument, to consider as actively as possible these observations, in the last analysis because one is really so anxious to know what will happen next, to find out what truths are ultimately going to emerge from all this. », ibid., p. 31.
80Nochlin Linda, « An Interview with Linda Nochlin », art. cité, p. 82.
81« those were three primary forces. They both had large visions. They were not pipsqueaky. Not that they avoided the formal in any sense, but they were clear thinkers who could involve a lot of the self and the world in their art history. And they weren’t pedantic. They were, to me, wonderfully open and adventurous, and, you know, I could read either of them. », Nochlin Linda, entretien avec James McElhinney, op. cit. Un grand merci à Richard Mason pour son aide dans la traduction de ce passage.
82« The point of departure is always the primary source, the tangible evidence […]. », Barton Eleanor Dodge, [Compte rendu d’Essays in Memory of Karl Lehmann], Renaissance Quarterly, vol. 21, no1, 1968, p. 37-39, p. 39.
83« Karl Lehmann, in a memorable course on Late Antique art, demonstrated to me the interconnection of art, power, and politics within the Roman Empire, preparing me for my later work on French colonialism and nineteenth-century Orientalism. », Nochlin Linda, Bathers, Bodies, Beauty, op. cit., p. 297.
84Voir Nochlin Linda, entretien avec Jean Martin, art. cité.
85« rehearsed before an audience his own old age, the advent of his own mortality. His lecture was an art-historical valediction. », Nochlin Linda, Bathers, Bodies, Beauty, op. cit., p. 296.
87Voir Panofsky Erwin, « Contribution au problème de la description d’œuvres appartenant aux arts plastiques et à celui de l’interprétation de leur contenu », dans La Perspective comme forme symbolique [1927], traduction dirigée par Guy Ballangé, Paris, Éditions de Minuit, 1975, p. 235-255.
88Panofsky Erwin, Essais d’iconologie. Thèmes humanistes dans l’art de la Renaissance [1939], traduction de Claude Herbette et Bernard Teyssèdre, Paris, Gallimard, 1967, p. 20 et p. 29.
89« in Nochlin’s hands, as in those of a contemporary such as Robert L. Herbert, the social history of nineteenth-century art resembles a new form of Panofskyan iconology, treating the work as a text to be interpreted by way of other texts. », Schwabsky Barry, « Realism Revisited », Raritan, vol. 28, no 2, 2008, p. 101-112, ici p. 103.
90Nochlin Linda, « Memoirs of an Ad Hoc Art Historian », dans Nochlin Linda, Representing Women, Londres, Thames & Hudson, 2019 [1999], p. 6-33, ici p. 11.
91Nochlin Linda, The Feminist Turn, op. cit., p. 46
92« the book that really turned me on », ibid.
93« I remembered glancing through the first pages […] when it first came out, and I closed it. I didn’t want to deal with all that. It was too painful. I liked to think at that point that I was just a superior person and I could handle all of it. I didn’t want to think I was the “second sex”. (Later, when I did read it, I thought it was the most brilliant analysis of woman’s position I had ever read. It was a constant source of inspiration.) », Nochlin Linda, « An Interview with Linda Nochlin », art. cité, p. 85. Linda Nochlin souligne.
94« the end of the aura (original work perceived in situ), but the reimposition of a kind of aura (generalised around images of all kinds and shapes) », Nochlin Linda, The Feminist Turn, op. cit., p. 52.
95Banham Reyner, Théorie et design à l’ère industrielle [1960], traduction de Christelle Bécant, Orléans, HYX, 2009.
96« It blew my mind, because we took modernism so much for granted. We took it for granted that it was the natural progression, the expression of the modern spirit. […] All of this came in so handy when I started feminist art history. […] All that deconstruction, not in the technical sense, but refusal of mythology, and questioning of ideology had always interested me from the word go. », Nochlin Linda, The Feminist Turn, op. cit., p. 40.
97Kris Ernst, Kurz Otto, La légende de l’artiste : un essai historique [1934], traduction de Laure Cahen-Maurel, Paris, Allia, 2010.
98« I read it in German, because it wasn’t translated yet, at the time I wrote Why have there been no great women artists. That says it in a nutshell, how these myths develop, and for what purposes. », Nochlin Linda, The Feminist Turn, op. cit., p. 44.
99« for understanding how constructed we are. Our psyches are constructed. There is no such thing as natural femininity or natural masculinity », ibid., p. 27.
100« “Oh, Linda, you think like a man”. Double take: what does that mean? That women can’t think, that women flutter? I’m very tough-minded, I’m very smart, and I don’t get carried away by emotion », ibid., p. 31.
101. « I never stopped reading Schapiro. I still think he’s terrific. I like Panofsky, though now of course I shifted to Aby Warburg about 12 years ago, and I’ve read every single thing Aby Warburg ever wrote. », Nochlin Linda, entretien avec James McElhinney, op. cit.
102« refusal to tie up his work in neat, easily apprehended packages – the way he leaves you still speculating, still waiting for more at the end of each scholarly but open-ended article. », Nochlin Linda, Bathers, Bodies, Beauty, op. cit., p. 300.
103« an adopted father », ibid., p. 298.
104« I certainly fell under the spell of Warburgian analysis, which was the alternative to pure formalism, in a way. » Nochlin Linda, The Feminist Turn, op. cit., p. 51.
105« a teacher I never had and a father I never lost », Nochlin Linda, Bathers, Bodies, Beauty, op. cit., p. 302.
106. « Tell me Aby where and when
We grew up together;
Surely you and I were kin
Bred for stormy weather.
Back and back the past unfolds
A past of books and reading…
Aby, this passage is almost run –
We’re sailing into harbor
Aby, my lover, my teacher, my son
My nemesis, my father. », ibid., p. 307-308.
107. « My graduate school teachers, mostly refugees from Hitler, transplanted into a new and different world, were sympathetic and supportive of these maverick strains in my work. », Nochlin Linda, The Body in Pieces, op. cit., s. p.
108« a vivid, first-person involvement with the many-layered visceral and emotional densities of art », Rosenblum Robert, « About Linda Nochlin », dans Nochlin Linda, D’Souza Aruna (dir.), Self and History, op. cit., p. 19.
109« I enjoy the writing. I also like to write poetry. I am interested in how you write. And I like a good argument – I guess that comes of being part of a family with a long line of rabbis. And then, I was a philosophy major in college. », Nochlin Linda, entretien avec Jean Martin, art. cité, p. 17.
110« I just like getting to the nub of something. I’m a poet, I’m not a prose writer. I started in poetry, so I think in those terms. I think more synchronically. I like to get a totalizing, complex intellectual chunk, but I don’t want to pull it out. », Nochlin Linda, The Feminist Turn, op. cit., p. 136-137.
111« As a person who also writes poetry, I feel I am a poet rather than a novelist even while writing art history, which makes me formulate my thoughts around small units rather than linking everything together into a big story. », Nochlin Linda, « Writing History “Otherly” », dans Pachmanová Martina (dir.), Mobile Fidelities : Conversations on Feminism, History and Visuality, Londres, KT Press, 2006, p. 14-21, ici p. 18.
112« I find depths suspect. Give me surfaces and lots of them. », Nochlin Linda, « Memoirs of an Ad Hoc Art Historian », dans Nochlin Linda, Representing Women, op. cit., p. 16.
113« “And will you ever finish that Great Book”, my father used to ask me – the complete volume, preferably a monograph in hard cover, authoritative, authoritarian, magisterial, with a clear beginning, middle and end, methodologically consistent, the final word. Well, frankly, no, thanks a lot, but no thanks.», ibid.
114« There is a problem or an issue—and I really think more in terms of articles or essays rather than, you know, long-term narratives. There is a problem. There is an image that I’m going to begin with at the start of my problem. And then where it leads, where each thought leads—I mean, I make an outline, of course, and I have something in view. But it is—I’m a dialectical thinker. You know, I sort of answer myself, or I critique my own thoughts and then I go on from there. And I’m a bricoleur, too. », Nochlin Linda, entretien avec James McElhinney, op. cit.
115« constructing your method as you go along to suit the needs of the material and the evolving argument and, in turn, examining the material in the light of the argument so constructed », Nochlin Linda, « Memoirs of an Ad Hoc Art Historian », dans Nochlin Linda, Representing Women, op. cit., p. 10.
116« Nochlin’s practice of bricolage […] is not simply an adaptive method of constructing an argument, but an intervention into the realm of signification itself. […] The notion of bricolage posits the possibility of women’s active resistance historically within patriarchal culture, by transforming the very terms of that culture – as well as the possibility for the (feminist) art historian herself to transform and bring to light meanings working within the (manipulated) terms of the discipline. Nochlin’s struggle to change the terms of art history is a struggle in language, even if this language is a visual one – and as always, a struggle in language is at root a political gesture. », D’Souza Aruna, « Fragments and Paradoxes », dans Nochlin Linda, D’Souza Aruna (dir.), Self and History, op. cit., p. 9.
117Nochlin Linda, Femmes, Art et pouvoir, traduction d’Oristelle Bonis, Nîmes, Jacqueline Chambon, 1993, p. 10.
119« I’m an essay person, through and through. Even – you know, my book on Courbet is a big collection of essays. », Nochlin Linda, entretien avec James McElhinney, op. cit.
120« an allegory of almost half a century of my life as an art historian – register the changes in my own methodology, outlook, and style of scholarship. What has really not changed over the years is my sense of an intellectual and emotional engagement with ideas and objects. I have never been, and never will be, a dry, objective scholar of Courbet, or any other artist or issue. », Nochlin Linda, Courbet, Londres, Thames & Hudson, 2007, p. 6.
121Baudelaire Charles, « Salon de 1846 », dans Critique d’art, édité par Claude Pichois, Paris, Gallimard, 1992, p. 78.
122Nochlin Linda, Femmes, Art et pouvoir, op. cit., p. 10.
123« my ekphratic exuberance was rejected by my fellow panellists – all male – as […] “too personal, too feminist, in bad taste” – and it is all of that. », Nochlin Linda, « Sophie Calle », dans Nochlin Linda, Women Artists : The Linda Nochlin Reader, op. cit., p. 412.
124« But wait! These are not my last words on Bonnard’s bathers, apt as they might be for an elegiac grand finale. As a woman and a feminist, I must say I find something distasteful, painful even, about all that mushy, passive flesh. Yes, I am being naïve abandoning my art-historical objectivity, but certainly contradictory intuitions have a place in one’s reaction to the work of art. », Nochlin Linda, « Bonnard’s Bathers », dans Nochlin Linda, Making it Modern, op. cit., p. 90-102, ici p. 99.
125« Despite the fact that most of the text was devoted to objective analysis and positive judgment, this flight of ekphrasis was viewed as “daring” by some and outrageous by others. The root of the trouble might well be that I am trying to express a very mixed emotional reaction to a work of art. », Nochlin Linda, « Sophie Calle », dans Nochlin Linda, Women Artists : The Linda Nochlin Reader, op. cit., p. 413.
126« In writing art history, you have to be – you know, sure, you can let yourself go and write about something or other, but you always have to be self-critical and analytical. At least I think so. And take a distance, even if you’re being very involved. It can’t sound like gush. », Nochlin Linda, entretien avec James McElhinney, op. cit.
127« I don’t let myself go. I don’t permit myself emotion or personal comment or so on and so on, though it seems to be more so than most of my other contemporaries, but it’s much less so than – now I feel no compunction about putting in a bit of poetry or “I feel” or stuff like that. I’m much more heterogeneous about how I write now. I don’t – I think I’m less traditionally scholarly in my writing than I was in the beginning. », ibid.
128« It is, for an art historian like me, a little ironic that the defining medium of stolid old art history should become the chosen vehicle of an inventive postmodernist’s art. », Nochlin Linda, « The World according to Gober », dans Nochlin Linda, Making it Modern, op. cit., p. 103-114, ici p. 106.
129« a desire to load all the content and reference of the visual into syntactical units that might convey to others, somehow, what it conveyed within that expansive mind. I think of the perplexed relation of words and things. », ibid. En italique dans le texte.
130« It is perhaps best, I have found, after repeated encounters, to approach these works, part and whole, with one’s own obsessions, deepest memories, or irrational desires, rather than trying to “figure it out”. It won’t work. », ibid., p. 112.
131« Behind the light-edged cellar doors that cannot, will not ever open stands my father in all his youthful glory. », ibid., p. 114. En italique dans le texte.
132« Can one complain of “distortion” in historical writing when, inevitably, with the passage of time, our own memories of events and experiences become confused, filmy, uncertain? », Nochlin Linda, « Starting from scratch », dans Nochlin Linda, Women Artists: The Linda Nochlin Reader, op. cit., p. 198.