1Ici, « bas-rouges » est une référence au terme péjoratif « bas-bleus » qui désigne les femmes caressant des ambitions intellectuelles.
2Nochlin Linda, « An Interview with Linda Nochlin », art. cité, p. 87 : « Redstocking of the Women’s Liberation Movement » (manifeste) ; Mainardi Pat, « Politique du travail domestique » [1970], traduction de Vanina Mozziconacci, Villa réflexive, 20 avril 2020, URL : https://reflexivites.hypotheses.org/11736#_ftnref1 (consulté le 6 mars 2024). Ti-Grace Atkinson est l’auteure par exemple d’Amazon Odyssey. Voir Atkinson Ti-Grace, Odyssée d’une amazone [1974], traduction de Martha Carlisky et Michèle Causse, Paris, Édition des Femmes, 1975.
3« when I read this new feminist material, I stayed up all night reading it, and I tried to get more. », Nochlin Linda, « An Interview with Linda Nochlin », art. cité, p. 87.
4« the personal was political, and […] politics, where sex roles and gender were concerned, began with the personal », Nochlin Linda, « Starting from scratch », dans Nochlin Linda, Women Artists : The Linda Nochlin Reader, op. cit., p. 189.
5« I could not go on teaching art history as though this new women’s liberation material didn’t count. », Nochlin Linda, « An Interview with Linda Nochlin », art. cité, p. 87.
6« to uncover the history of women artists in the past; to unmask the oppression of women by means of an analysis of representation; and to bring to justice, and public visibility, women artists in the present. », Nochlin Linda, « Feminist Art History Lecture, Association of Art Historians Conference 1986 », mss, Linda Nochlin papers, 1937-2017, LN-AAA 16.24 (à partir de cette page, cette référence est citée sous le titre raccourci : « Feminist Art History Lecture »).
7« in 1969 and the years that followed, the intersection of myself and history […] was no mere passive conjunction of events that united me to the history of that year and those that followed, but rather an active engagement and participation, a sense that I, along with many other politicized, and yes, liberated, women, was actually intervening in the historical process and changing history itself: the history of art, of culture, of institutions and of consciousness. », Nochlin Linda, « Memoirs of an Ad Hoc Art Historian », dans Nochlin Linda, Representing Women, op. cit., p. 33.
8« Does gender make a difference in the seminar structure? It certainly did then, when the teacher was a woman, the students were women and the subject was the representation of women and women artists. All of us were equals in our ignorance: although I more or less invented the subjects of investigation, we all had to search for source material, come up with ideas, find new subjects. There were no available textbooks, no theories ready to hand. Little or no precedent to what we were doing. Discussion was heated, discoveries multiple and exciting, although sometimes, given the history of the representation of women and their position in the art world, discouraging. », Nochlin Linda, « The Seminar as Bildungsroman », Linda Nochlin papers, 1937-2017, op. cit.
9Une série d’entretiens produite de 1991 à 2002 avec des historiennes et historiens de l’art dans un programme d’histoire orale coorganisé par UCLA et le Getty Research Institute.
10« I am changing the subject of the Art 364b seminar to: The Image of Women in the 19th and 20th Centuries. I have become more and more involved in the problem of the position of women during the course of this year and think it would make a most interesting and innovative seminar topic, involving materials from a variety of fields not generally included in art historical research. This would be a pioneering study in an untouched field. […] Most of this territory – and a great deal more – has never been touched. », Nochlin Linda, « Starting from scratch », dans Nochlin Linda, Women Artists : The Linda Nochlin Reader, op. cit., p. 190.
11Werner Pascale, « Préface », dans L’histoire sans qualité, op. cit., p. 9-11, p. 11.
13« with a lot of passion, a sense of discovery, and with the knowledge that whatever we did counted; for everything, quite literally, remained to be done. We were doing the spadework of feminist art history, and we knew it. », Nochlin Linda, « The Seminar as Bildungsroman », Linda Nochlin papers, 1937-2017, op. cit.
14« a committed group of feminist or proto-feminist researchers tracking down the basic materials of our embryonic discipline. […] We were both inventors and explorers: inventors of hypotheses and concepts, explorers of the vast sea of undiscovered bibliographical material, the underground rivers and streams of women’s art and the representation of women. », ibid.
16« remarkable combination of ambition and naïveté », Nochlin Linda, « Starting from scratch », dans Nochlin Linda, Women Artists : The Linda Nochlin Reader, op. cit., p. 190.
17« My fuzziness about these issues is a poignant reminder to historians about the unreliability of witness accounts, especially when the witness is identical with the historian in question. », ibid.
18« a feeling of vicarious empowerment and pride », ibid., p. 194.
19« Work by such modernist masters as Picasso and Matisse was examined in ways that called into question the whole formalist apparatus of art criticism and demanded a more critical view of what had formerly been seen as relatively gender-neutral territory. », ibid.
20« There was no system of moral or practical support for women like me at that moment in history – just unbounded personal energy and a will to persist under difficult circumstances. », ibid., p. 192.
21« nothing that had any theoretical vision », Nochlin Linda, « An Interview with Linda Nochlin », art. cité, p. 87.
22« organizing that first class in feminist art history irrevocably altered my view of the discipline and my place in it, so that all my future production was touched by this originating moment of insight and revision », Nochlin Linda, « Starting from scratch », dans Nochlin Linda, Women Artists: The Linda Nochlin Reader, op. cit., p. 188.
23« a conversion experience […], a conviction that before I had been blind; now I had seen the light », ibid.
24« it was as though I kept opening doors onto an endless series of bright rooms, each one opening off from the next, each promising a new revelation, each moving me forward from a known space to a larger, lighter, unknown one », ibid., p. 189.
25« one can see that a discipline, a discourse, and a field of scholarly inquiry was in the making, and one can watch ideas in the process of formulation », ibid., p. 196.
26« The exhilaration of the classroom was best recalled this fall by our experience with 51’s Linda Weinberg Nochlin Pommer […] who condensed her term’s course into forty minutes of almost poetic communication of her ideas and her own continued growth implicit in them. I think this kind of growth on the part of the faculty in many fields, as teachers and students explore relationships among previously academically separated “subjects”, was one of the most impressive changes on the campus. The students are certainly aware of it, just as they are appreciative of a closeness with faculty they know is not found in larger universities. », Miller Sapin Barbara, Lettre aux membres de l’Alumnae/i Association of Vassar College, automne 1971, dossier « Women and Art Seminar », Linda Nochlin papers, 1937-2017, LN-AAA 25.19.
27Showalter Elaine (dir.), Women’s Liberation and Literature, New York (NY), Harcourt Brace Jovanovich, 1971, p. 271-285.
28Lippard Lucy, « Sexual Politics, Art Style », Art in America, vol. 59, no5, septembre-octobre 1971, p. 19-20.
29« Art 362 a – Women Seminar Preliminary outline », Linda Nochlin papers, 1937-2017, LN-AAA 25.19.
30« The enthusiasm, the sense of communal discovery, the energy and the pervasive feeling that we were exploring a completely new territory in an enterprise which truly engaged our deepest social commitment – all of this marked off these early women-and-art courses from other academic enterprises in a remarkable way. Consciousness raising joined together with intellectual discovery and political activism. », Nochlin Linda, « Feminist Art History Lecture », Linda Nochlin papers, 1937-2017, LN-AAA 16.24.
31« By far the most startling course in the department is Linda Nochlin Pommer’s Women and Art which grew out of her own involvment in the Women’s Liberation Movement. Mrs. Pommer is quick to point out that she aims to “stress relevance, but not to lapse into mindlessness – we’re not interested in slogans and easy generalizations (‘This artist likes women, this one doesn’t’.)” » « A.A.V.C Newsletter », automne 1971, Women and Art Seminar 1971, Linda Nochlin papers, 1937-2017, LN-AAA 25.19.
32« It was as though a bomb had dropped. This stuff was just not talked about. The women students looked overjoyed. Their eyes suddenly lit up when I pointed out that an image of a woman’s buttocks presented by one of their teachers as an example of New Realism might also be understood as routinely derogatory. », Nochlin Linda, « An Interview with Linda Nochlin », art. cité, p. 88.
33« The few younger women teachers needed the approval of the male-dominated power structure to keep their jobs or get tenure. », ibid.
34Voir les deux articles suivants dans Art Journal, vol. 32, no4, 1973 : Ehrlich White Barbara, White Leon, « Survey on the Status of Women in College Art Departments », p. 420-422 et Harris Ann Sutherland, « Women in College Art Departments and Museums », p. 417-419.
35« It was often psychologically overwhelming. I felt utter despair at times. I’d think, “I can’t keep this up. I’m too tired”. Of course, part of the reason was the enormous pressure which I placed on myself because I had to do well. I didn’t only have to carry this heavy load, I had to do it better than anyone else, and I had to be a good wife, mother, political person, poet, etc. I had enormously high, in some ways unrealistically high, standards no matter what the price. And one felt so alone, you couldn’t really articulate what was wrong for you-as-a-woman, there were no categories to fit your sense of oppression into. That was the point. But everything in that little world conspired to make you feel guilty. There is nothing like a university campus to re-inscribe the position of women. », Nochlin Linda, « An Interview with Linda Nochlin », art. cité, p. 83.
36« My mother, Mrs Elka Heller, and my mother-in-law, Mrs Reba Pommer my daughter Jessica and my housekeeper, Mrs Eleanor Lezon, offered invaluable domestic assistance. », Nochlin Linda, Realism, op. cit., p. 9.
37« You have to be twice as energetic. I envied some of the male scholars with their devoted wives who took care of the house, did footnotes, stayed behind with the children. I just hope that there will someday be, in some way, a world in which both sexes can do both things in better ways. », Nochlin Linda, « An Interview with Linda Nochlin », art. cité, p. 84.
38« What is ultimately important is not just one woman or a few women succeeding because they are lucky or have bucked the system, but changing the system itself. », ibid.
39« feminism is concerned with exposing the ideological and socially constituted powers that consistently (re)instate the feminine (and, particularly, female subjects) as inferior, and which thereby produce gendered hierarchies throughout every social space », Horne Victoria, Tobin Amy (dir.), « An Unfinished Revolution in Art Historiography, or How to Write a Feminist Art History » dans Feminism and Art History Now: Radical Critiques of Theory and Practice, Londres, Tauris, 2017, p. 31-40, ici p. 33 (à partir de cette page, cette référence est citée sous le titre raccourci : Feminism and Art History Now).
40« I would say that every course I teach involves feminism. It’s not a separate thing. Whether I’m teaching Manet or I’m teaching Delacroix, whether I’m writing about Orientalism or about Watteau, I am writing from a feminist perspective. It’s not something that one can turn on or off. Not only is it important to have separate courses on women and art, but it’s important to keep a feminist critique going on everywhere. There’s no place that that can’t be inserted. », Nochlin Linda, « An Interview with Linda Nochlin », art. cité, p. 90.
41Nochlin Linda, Pourquoi…, op. cit., p. 106.
42« Richard turned to me and said, “Linda, I would love to show women artists, but I can’t find any good ones. Why are there no great women artists?” He actually asked me that question. I went home and thought about the issue for days. It haunted me. It made me think, because, first of all, it implied that there were no great women artists. Second, because it assumed this was a natural condition. », Nochlin Linda, Reilly Maura, « A Dialogue with Linda Nochlin », dans Nochlin Linda, Women Artists : The Linda Nochlin Reader, op. cit., p. 15.
43Grant Catherine, « Introduction », dans Nochlin Linda, Pourquoi…, op. cit., p. 9-19, ici p. 11.
44Nochlin Linda, Pourquoi…, op. cit., p. 35.
45Cité dans Grant Catherine, « Introduction », dans Nochlin Linda, Pourquoi…, op. cit., p. 11. Citation originale dans Nochlin Linda, « Why Have There Been No Great Women Artists? », ARTNews, janvier 1971, p. 22-38 et p. 67-71, ici p. 23.
46C’est aussi la question sur laquelle se penchent Griselda Pollock et Rozsika Parker dans Maîtresses d’autrefois comme le résume Pollock dans un autre texte : « Pourquoi a-t-il été nécessaire pour l’histoire de l’art de créer une image de l’histoire des arts passés qui tienne compte exclusivement des œuvres masculines. » ; « Why has it been necessary for art history to create an image of the history of past art as an exclusive record of masculine achievement. », Pollock Griselda, Vision and Difference: Feminism, Femininity and Histories of Art, Londres, Routledge, 3e édition, 2015 [1988], p 33 (à partir de cette page, cette référence est citée sous le titre raccourci : Vision and Difference).
47« I wasn’t thinking in terms of men or women; I just included women in the group of people who made art. I just thought, there they were. », Nochlin Linda, Reilly Maura, « A Dialogue with Linda Nochlin », dans Nochlin Linda, Women Artists : The Linda Nochlin Reader, op. cit., p. 15.
48« the point of the women’s movement in art – the women’s liberation movement in art – was to get to see women artists as part of being an artist, period. You know, being part of the mainstream, not a remarkable exception. », Nochlin Linda, entretien avec James McElhinney, op. cit.
49« dialectical thinking », Nochlin Linda, Reilly Maura, « A Dialogue with Linda Nochlin », dans Nochlin Linda, Women Artists : The Linda Nochlin Reader, op. cit., p. 16.
50« It wasn’t just the woman as artist, but the mythology of the artists in which women could not participate. », Nochlin Linda, « An Interview with Linda Nochlin », art. cité, p. 86. Linda Nochlin souligne.
51« I wrote that article as though I were illuminated. I sat down and I just couldn’t stop writing. Everything seemed to come together. It really was like an epiphany when I wrote it; I wrote it with great feeling. It seemed to open up so many intellectual doors and to break down so many falsehoods. It seemed to have a certain critical life of its own […]. I can’t say I knew my article would be so significant, but somehow, I did. I felt I was hardly responsible. Once in a while you have that feeling that the article has written you. I always criticize painters when they say to me, “The painting painted itself. I wasn’t responsible.” But in this case, I guess I permitted so many feelings, ideas, needs and unconscious processes to come out and shape and lead me on, that, in a certain sense, the article wrote me or wrote itself – at least in the metaphysical sense. I had a feeling it was an important piece. », ibid.
52« the genesis of feminist art history », Rijsingen Miriam van, « How purple can purple be? Feminist Art History », dans Buikema Rosemarie, Smeli Anneke (dir.), Women’s Studies and Culture: A feminist Introduction, Londres, Palgrave Macmillan, 1995, p. 94-105, p. 94 (à partir de cette page, cette référence est citée sous le titre raccourci : « How purple can purple be? »).
53Nochlin Linda, Pourquoi…, op. cit., p. 23.
54« an outstanding sociological analysis of the kind that more sociologists of sex roles, occupations and family life should be writing », Hudson Anne Mooney, [Compte rendu de Women in sexist Society: Studies in Power and Powerlessness], Journal of Marriage and Family, vol. 35, no 3, 1973, p. 562-564, ici p. 564.
55Nochlin, Linda, Pourquoi…, op. cit., p. 31.
57« a relation which has been brushed aside by traditional art history, because it is neutralised on the assumption of the autonomy of artistic subjectivity », Rijsingen Miriam van, « How purple can purple be? », Women’s Studies and Culture: a feminist Introduction,op. cit., p 99.
58« That it required an art historian to put together an answer to a question that haunts many of us in one form or another says what we may not care to hear about the limitations of sociology’s acquaintance with history, but it detracts not a bit from a finely argued and entirely convincing thesis that women have been denied access to the social institutions, particularly the socializing institutions, by which people with talent develop into great artists. », Hudson Anne Mooney, [compte rendu de Women in sexist Society: Studies in Power and Powerlessness], art. cité, p. 564.
59Nochlin Linda, Pourquoi…, op. cit., p. 83.
60Sofio Séverine, Yavuz Perin Emel, Molinier Pascale, « Les arts au prisme du genre », art. cité, p. 8.
61Voir Tickner Lisa, « Feminism, Art History, and sexual Difference », Genders, no 3, 1988, p. 92-128, ici p. 94.
62« as a piece it is neither art history nor criticism in any sense of those terms, but wide-ranging, feminist critique having roots in a variety of disciplines and approaches, ranging from art history to sociology to phenomenology to Frankfurt School of critical theory to Simone de Beauvoir’s feminist existentialism in The Second Sex to Mary Wollstonecraft and John Stuart Mill and many other sources. It was written quickly under the impulsion of immediate political inspiration and demanded enormous amounts of reading, research and thinking. Hard work, but truly inspired by a cause. », Nochlin Linda, « The Goals of Art Criticism », op. cit.
63Beauvoir Simone de, Le Deuxième Sexe, t. 1, op. cit., p. 226-227.
64Nochlin, Linda, Pourquoi…, op. cit., p. 38.
66« not important enough to go into a one-volume history of art. […] I have yet to hear a convincing case made for the claim that Mary Cassatt has changed the history of art. », Janson H. W., cité dans Dickinson Eleanor, « Sexist Texts boycotted », Women Artists News, vol. 5, no 4, septembre-octobre 1979, p. 12.
67Nochlin Linda, Pourquoi…, op. cit., p. 35-36.
69Voir Nochlin Linda, The feminist Turn, op. cit., p. 100.
70« she was the first feminist voice raised at the Courtauld Institute […], lending her erudition and eloquence to support a few women graduate students struggling to raise feminist questions against the complacency and ridicule of the guardians of British art historical orthodoxy. », Pollock Griselda, Linda Nochlin papers, 1937-2017, LN-AAA 16.24.
71« It could be phrased: “Why Have There Been No Great Women Artists even though women have produced great works of art?” », Hess Thomas B., « Great Women Artists », dans Hess Thomas B., Baker Elizabeth (dir.), Art and sexual Politics, op. cit., p. 44-54, ici p. 44. Thomas Hess souligne.
72Voir Sterling Charles, « Sur un prétendu chef-d’œuvre de David », Bulletin de la Société de l’histoire de l’art français, vol. 50, 1950, p. 118‑130. En 1996, Margaret Oppenheimer présente l’hypothèse que l’artiste n’est pas Marie Charpentier mais Marie Denise Villers. Voir Oppenheimer Margaret, « Nisa Villers, née Lemoine (1774-1821) », Gazette des beaux-arts, no127, avril 1996, p. 166, p. 170-72 et p. 176.
73« She had been one of David’s pupils, and her extraordinary power and originality was proclaimed, all unawares, by four generations of male-chauvinist art experts. », Hess Thomas B., « Great Women Artists », dans Hess Thomas B., Baker Elizabeth (dir.), Art and sexual Politics, op. cit., p. 45.
74Nochlin Linda, Harris Ann Sutherland, Femmes peintres 1550-1950, Paris, Des Femmes, 1981, p. 207 (à partir de cette page, cette référence est citée sous le titre raccourci : Femmes peintres).
75« Although the painting is attractive as a period piece, there are certain weaknesses of which a painter of David’s calibre would not have been guilty. », Laver James, « Women Painters », dans The Saturday Book, Londres, Hutchinson, 1964, p. 19.
76Nochlin Linda, Pourquoi…, op. cit., p. 25-26.
77« one of Hals’s most brilliant followers » ; « whose natural gifts (what Prof. Nochlin calls the “golden nugget of genius”) enabled her to rival the greatest master of the brushstroke at the age of nineteen! », Hess Thomas B., « Great Women Artists », dans Hess Thomas B., Baker Elizabeth (dir.), Art and sexual Politics, op. cit., p. 45.
78Voir Mothersill Mary, The Journal of Aesthetics and Art Criticism, vol. 32, no 3, printemps 1974, p. 435-436.
79Nochlin Linda, Pourquoi…, op. cit., p. 36.
80« While Nochlin’s own essay warned against trying to answer the rhetorical question and argued that the absence of women artists is a question of institutions and how art history constructs (male) artists through reputation and myth, popular journalism uses this “greatness” as a “hook” to ensnare women in this debate. », Deepwell Katy, « Art Criticism », art. cité.
81« different kinds of identity politics defining who the artist is and not the politics their works explore has it seemed returned with a vengeance in art writing. », ibid.
82« Linda Nochlin wrote a piece called “Why There Are No Great Women Artists” and I think that’s a terrible title for an article about women artists because I don’t think it is true at all. », Hepworth Barbara, Nemser Cindy, « Conversation with Barbara Hepworth », Feminist Art Journal, vol. 2, no 2, printemps 1973, dans Bowness Sophie (dir.), Barbara Hepworth: Writings and Conversations, Londres, Tate Publishing, 2015, p. 251. Je remercie Eva Belgherbi pour cette référence.
83« women can do it all », Nemser Cindy (dir.), Art Talk. Conversations with 12 Women Artists, New York (NY), Scribner, 1975, p. 6.
84Nochlin Linda, « An Interview with Linda Nochlin », art. cit, p. 86-87.
85« I don’t want to create any other institutions. I don’t want to be in any institution. », Drexler Rosalyn, De Kooning Elaine, « Dialogue », dans Hess Thomas B., Baker Elizabeth (dir.), Art and Sexual Politics, op. cit., p. 56-81, ici p. 69. Rosalyn Drexler souligne.
86Nochlin Linda, Pourquoi…, op. cit., p. 30.
87« I think the status quo in the arts is fine as it is […]. There are no obstacles in the way of a woman becoming a painter or sculptor, other than the usual obstacles that any artist has to face. », De Kooning Elaine, « Dialogue », dans Hess Thomas B., Baker Elizabeth (dir.), Art and Sexual Politics, op. cit., p. 59. Elaine de Kooning souligne.
88« Women’s Liberation, when applied to artists, seems to me to be a naive concept. […] At this point in time, artists who happen to be women need this particular form of hysteria like they need a hole in the head. », Riley Bridget, « The Hermaphrodite », dans Hess Thomas B., Baker Elizabeth (dir.), Art and Sexual Politics, op. cit., p. 82-83, ici p. 83.
89« nowhere did [Nochlin] challenge the universal authority of these male-defined notions of greatness and artistic achievement. Nor did she attempt to postulate the existence of an alternative set of values and life experiences out of which women’s art might grow. », Broude Norma, Art Journal, vol. 41, no 2, op. cit., p. 180.
90« my involvement in feminism has led me to question some of the standards and values by which we have judged art in the past. In the article I wrote, “Why have there been no great women artists?”, I said that I thought that simply looking into women artists of the past would not really change our estimation of their value. Nevertheless, I went on to look into some women artists of the past, and I find that my estimations and values have, in fact, changed […]. I find that in the process of examining them, my whole notion of what art is all about is gradually changing. », Nochlin Linda, « How Feminism in the Arts… », art. cité, p. 80-89.
91« though still frequently asked with genuine concern and bewilderment – is moot. The question that should be asked, rather is, “why is so little known about great women artists of the past”? », Tufts Eleanor, Our Hidden Heritage: Five Centuries of Women Artists, New York (NY), Paddington Press, 1975, p. xv.
92Nochlin Linda, Femmes, Art et Pouvoir, op. cit., p. 6.
93« Blackwomen artists are here, we exist and we exist positively, despite the racial, sexual and class oppressions which we suffer. », Burman Chila, « There have always been great Blackwomen artists » dans Deepwell Katy (dir.), 50 Feminist Art Manifestos, La Vergne (TN), KT Press, 2022, p. 76-80, ici p. 76.
94« If we look at the way in which these assumptions have been challenged to date, particularly by white women, we can see nothing that acknowledges that Blackwomen exist. Art history is an academic subject, studied in patriarchal art institutions, and white middle-class women have used their advantageous class position to gain access to these institutions by applying pressure to them in a way which actually furthers the exclusion of black artists in general. White women’s failure to inform themselves of the obstacles faced by black artists and in particular Blackwomen artists has led to the production of an extremely Eurocentric theory and practice of “women’s art”. It seems that white feminists, as much as white women in general, either do not attempt or find it difficult to conceive of Blackwomen’s experience. », ibid., p. 77.
95« we, in Egypt, have had a different story of the contribution of women to the arts, which has not yet been told […]. The women of Egypt have contributed to aesthetic creativity since the early times in spite of having to bear a heavier share of socio-economic circumstances than their Western sisters. », Madkour Nazli, Women and Art in Egypt, Le Caire, State Information Service, 1991, p. 8. D’après Natasha Morris, la référence à Nochlin a été intégrée à la traduction de ce livre originellement publié en arabe en 1989 sous le titre Al-Mar’a al-Misriya wal-Ebda’ al-Fanni, afin de s’adresser à un lectorat international. Morris Natasha, « The Body Beyond », Oxford Art Journal, vol. 45, no 1, juillet 2022, p. 147-154, note 7 p. 154.
96« the history of a mostly invisible black visuality », Wallace Michele, « Why are there no great Black Artists?: the Problem of Visuality in African American Culture », dans Dark Designs and visual Culture, Durham (NC), Duke University Press, 2004, p. 184-194.
97« the profoundly positive and constructive effect of what many unbelievers then perceived as a negative gesture », ibid., p. 187.
98Salvioni Daniela, « Black popular Culture », Parkett, no 31, 1992, p. 136-139. Michele Wallace souligne.
99« “Famous” suggests the judgments and trends of the moment – which have always been promiscuous in their instrumentalization of black artists – whereas “great” usually refers to everlasting cultural processes as they have been codified in art history and museums for centuries. Fame may or may not lead to greatness. », Wallace Michele, « Why are there no great Black Artists? », art. cité, p. 187.
100« She was addressing the problem of the institutionalization of rock-solid (as solid as the statue of Teddy Roosevelt with his Indian and his African in front of the Museum of Natural History) social, cultural, and economic boundaries around Western conceptions of genius, individual talent, art, creativity, the artist, the master, culture. Nochlin’s article was about women letting go of an old, defeatist, masochistic, soul-killing paradigm. », ibid., p. 188-189.
101« Throughout, as Nochlin grapples with the historical problem of the woman artist and, even more importantly, the visual problem of the representation of women in art, she adds to her formulation again and again the words, “and black artists, too”. », ibid., p. 189.
102« blacks (or black women or women of color or black men) cannot be tacked onto formulations about gender without engaging in a form of conceptual violence. In no theoretically useful way whatsoever are blacks like women. », ibid. Michele Wallace souligne.
103Le titre complet est Gone: An Historical Romance of a Civil War as It Occurred b’tween the Dusky Thighs of One Young Negress and Her Heart [Emportée : une romance historique durant la Guerre civile telle qu’elle s’est déroulée entre les hanches sombres d’une jeune négresse et son cœur].
104« the issue of race unequivocally constitutes the manifest content. This imagery […] clearly represents the evils imposed upon people of color by slavery, imperialism, colonialism, and, more recently, by bias and prejudice. Yet such a representation equally depends, for its language and power, on the issues of gender imbricated in the racial ones. […] Gone: A Historical Romance […] depends on the representation of gender exploitation to make its point. », Nochlin Linda, Reilly Maura, « A Dialogue with Linda Nochlin », dans Nochlin Linda, Women Artists: The Linda Nochlin Reader, op. cit., p. 32
105Voir Armstrong Carol, « Préface », dans Armstrong Carol, Zegher Catherine de (dir.), Women Artists at the Millennium, Cambridge (MA), MIT Press, 2006, p. ix-xiv, ici p. ix.
106Nochlin Linda, « Pourquoi n’y a-t-il pas eu de grands artistes femmes. Trente ans plus tard » [2006], dans Pourquoi…, op. cit., p. 82-106, p 85 (à partir de cette page, cette référence est citée sous le titre raccourci : « Trente ans plus tard »).
107« the contemporary inversion of the question not only turns it inside out, it also – quite inadvertently – goes a long way toward blunting its critical pointedness and undoing its destabilizing potential. », Armstrong Carol, « Préface », dans Armstrong Carol, Zegher Catherine de (dir.), Women Artists at the Millennium, op. cit., p. ix-x.
108« “Why have there been no great women artists?” and the other, its corollary, “Why have there been great male ones?” Why has this entity, the great artist, existed at all, in short? And more specifically, what configuration will the notion of the great artist have at given moments in history? How is the entity “the great artist” constructed? And to what purposes? What political needs, what psychological yearnings, what ideological functions, does such a notion serve? », Nochlin Linda, Courbet, op. cit., p. 117.
109« To characterize Linda Nochlin as a feminist art historian tells a profound truth about her intellectual stance, as long as one is willing to understand her feminism not as a single methodology […]. As early as the 1970s Nochlin rejected essentializing feminisms, in favor of treating feminism as a lens through which she explores art-historical problems and that structures her very way of seeing. », D’Souza Aruna, « Fragments and Paradoxes », dans Nochlin Linda, D’Souza Aruna (dir.), Self and History, op. cit., p. 7.
110Lebovici Élisabeth, Zapperi Giovanna, « Découvertes excitantes : emplois et contre-emplois du féminisme dans les expositions », Multitudes, vol. 31, no 4, 2007, p. 191-200, p. 194 (à partir de cette page, cette référence est citée sous le titre raccourci : « Découvertes excitantes »).
112« feminist art history has come dangerously close to creating its own canon of white female artists (primarily painters), a canon that is almost as restrictive and exclusionary as its male counterpart », Gouma-Peterson Thalia, Mathews Patricia, « The feminist Critique of Art History », Art Bulletin, vol. 69, no 3, 1987, p. 326-357, ici p. 327.
113« Information is not interpretation, nor does it represent any accommodation of feminist knowledge. », Deepwell Katy, « Art Criticism », art. cité.
114Morrill Rebecca, Wright Karen, Elderton Louisa (dir.), Great Women Artists, Londres, Phaidon, 2019 ; Hessel Katy, The Story of Art without Men, Londres, Random House, 2022.
116« Not mentioning gender it seems, is considered as a means to establish that all artists are just artists, but in reality it is how feminist questions about the gender order and persistent inequality are just avoided. », Deepwell Katy, « Art Criticism », art. cité. J’irai plus loin : c’est aussi privilégier les stratégies commerciales du monde de l’édition d’art au détriment d’un travail d’amplification des contributions de chercheuses et chercheurs repoussées dans l’ombre.
117« This thinking encourages students to study Frida Kahlo et Georgia O’Keeffe for their achievements as women while acknowledging Vincent van Gogh and Pablo Picasso, despite (or rather because of) their equally turbulent lives, for their contributions to “Art”. », Deepwell Katy, « Feminist curatorial Strategies and Practices since the 1970s », dans Marstine Janet (dir.), New Museum Theory and Practice, Oxford, Blackwell, 2006, p. 64-84, p. 70.
118« The ambition should not be to avoid mentioning the sex of the maker, but that the sex of the maker should not automatically penalize women artists and celebrate men artists in the specific ways it does now. », Pollock Griselda, Vision and Difference, op. cit., p. 51.
119Kuhn Annette, Women’s Pictures – Feminism in Cinema, Londres, Pandora Press, 1982, p. 8, traduction française dans Deepwell Katy, « Défier l’indifférence à la différence », L’invention de la critique d’art, op. cit., p. 198.
120« Once one questions the notion that women are “natural” entities, that gender is a timeless, universal essence – then you have to question the possibility of any representation of woman, or a discourse about such representation. What you have to do is deconstruct the ways woman is represented and consider her position as a spectator as well. », Nochlin Linda, « An Interview with Linda Nochlin », art. cité, p. 89. Linda Nochlin souligne.
121Nochlin Linda, Femmes, Art et Pouvoir, op. cit., p. 15.
122« what is feminist art history? What has it achieved? What has it not achieved? What are the problems? Where might it go now? », Nochlin Linda, « Feminist Art History Lecture », Linda Nochlin papers, 1937-2017, LN-AAA 16.24.
123« The most difficult question of all, is, I think, “what is feminist art history” – difficult in the sense that it seems to demand some sort of [note de l’auteure : Nochlin ajoute ensuite au manuscrit “restrictive”] definition and I would prefer not to lock myself into a definition right at the outset », ibid.
124« feminist art history is what I do and what I am committed to, and it involves a critical and historical analysis of representation and the production and reception of images – by no means restricted to high art – in which issues of gender, sexuality, patriarchal authority and female oppression are seen as central. It is an art history which makes no pretence to a spurious [note de l’auteure – ajout manuscrit : pure] objectivity nor [does it resort to an] equally [spurious] problematic subjecti [ve basis] -vity in its approach], but is overtly and unabashedly political in its interpretation and its goals. […] It is an art history which, above all, concerns itself with ideology, with the unspoken often unconscious assumptions about gender, position and power controlling social relations and the representations which serve to reproduce or reinforce them. It is an art history which attempts, through various forms of intervention – discursive above all – to subvert, call into question, transgress – the accepted givens – the ideological foundations [and discourses of mainstream art history]. It is an art history, too, which calls attention to the indissoluble relations existing between the ideology controlling the discourses of art history and women’s [oppressed] marginalized and downgraded position within the institutional structures of art history, [and the art-world] itself – museums, academies, art-schools, university art departments, etc. », ibid.
125« it is a historic event. It is the first major debate on feminist art history to take place within the heart of the British art historical establishment. », Pollock Griselda, Linda Nochlin papers, 1937-2017, LN-AAA 16.24.
126« It seems remarkable that in the current climate of cultural reaction and conservative retrenchment the first full day session devoted to feminist art history in British art historians’ association should finally occur. For me it is evidence of something long awaited – a second generation.», ibid.
127« A combination of collective self-help and intellectual bricolage re-educated a range of activists and intellectuals seeking the means to resolve the dislocation between what was officially on offer as knowledge – be it of art, history or society – and what we need to be able to say understand because of the crisis we were living through. », Pollock Griselda, Generations and Geographies in the visual Arts: feminist Readings, Londres, Routledge, 1996, p. 17.
128Haraway Donna, « Savoirs situés », Manifeste Cyborg et autres essais, op. cit., p. 127.
129Nochlin Linda, Femmes, Art et Pouvoir, op. cit., p. 5.
130Voir Gouma-Peterson Thalia, Mathews Patricia, « The feminist Critique of Art History », art. cité. Norma Broude et Mary D. Garrard répondent à cet article dans « An Exchange on the feminist Critique of Art History », Art Bulletin, mars 1989, vol. 71, no 1, p. 124-127, pour réfuter en particulier l’hypothèse d’une division générationnelle entre féministes essentialistes – parmi les pionnières, et une seconde génération engagée dans un féminisme plus critique.
131« The potentially radical implications of Nochlin’s initial analysis could not be fully explored until neglected women artists were identified. », Gouma-Peterson Thalia, Mathews Patricia, « The feminist Critique of Art History », art. cité, p. 326.
132Mainardi Pat, Ferrer Mathilde, « De chaque côté de l’Atlantique, deux parcours féministes en art », Cahiers du Genre, vol. 43, no 2, 2007, p. 71-94, p. 79 (à partir de cette page, cette référence est citée sous le titre raccourci : « De chaque côté de l’Atlantique »).
133Pollock Griselda, « Une préface solitaire », dans Parker Roszika, Pollock Griselda, Maîtresses d’autrefois. Femmes, art et idéologie, traduction de Christophe Degoutin, Genève, JRP Editions et Paris, Fondation Antoine de Galbert, 2024 [1981, 2013, 2021], p. 35-50, p. 37.
134Pollock Griselda, « Des canons et des guerres culturelles », art. cité, p. 49.
135Ibid., p. 56. Voir aussi Spivak Gayatri, « Imperialism and sexual Difference », Oxford Literary Review, vol. 8, no 1-2, 1986, p. 225-240.
136Spivak Gayatri, « Trouver des lectures féministes : Dante-Yeats » [1980], dans En d’autres mondes, op. cit., p. 52-75, p. 71.
137« Should feminist art historians and critics reject the canon and focus instead on “minor” and “marginal” figures? Should they attempt to add women artists to the canon? Or should feminist art historians and critics call into question the very notion of the canon itself by demonstrating how it works to maintain existing relations of power between men and women? », Nochlin Linda, Reilly Maura, « A Dialogue with Linda Nochlin », dans Nochlin Linda, Women Artists : The Linda Nochlin Reader, op. cit., p. 37.
138« any canon, narrowly construed, is an obstruction both to complex thought and to open examination of the historical situation itself », ibid.
139« Expanding the possible subject positions of art history might differentiate the objects of art history (our understanding of what art “is” or could be) and contribute to the continuous process of rewriting the canon(s). But it does not have to. On the contrary, too many projects of adding women to the canon and/or writing women’s art history may well validate dominant narratives and norms. », Sjöholm Skrubbe Jessica, dans Dimitrakaki Angela, « Constant Redistribution », art. cité, p. 225. Jessica Sjöholm Skrubbe souligne. Sur la question du ou des canons, voir aussi Pollock Griselda, Differencing the Canon: feminist Desire and the Writing of Art’s Histories, Londres, Routledge, 1999 et Iskin Ruth (dir.), Re-envisioning the Contemporary Art Canon: Perspectives in a global World, Londres, Routledge, 2016, DOI : 10.4324/9781315639772 (consulté le 7 mars 2024).
140« Feminist art history is not an abstraction but a historical practice. It is primarily the product of the women’s movement. », Pollock Griselda, Linda Nochlin papers, 1937-2017, LN-AAA 16.24. Voir aussi le chapitre « Vision, Voice and Power », dans Pollock Griselda, Vision and Difference, op. cit., p. 25-69.
141« in order to allow new art histories to emerge […] it is better to speak of feminist interventions in art history than of a feminist art history. », Rijsingen Miriam van, « How purple can purple be? », Women’s Studies and Culture: a feminist Introduction, op. cit., p. 94.
142Dallier-Popper Aline, « Présence des femmes dans l’art », Femmes et création, Marseille, Groupe Régional pour l’Action et l’Information des Femmes, 1985, p. 61-65, ici p. 62.
143Tickner Lisa, « Féminisme et histoire de l’art, une affaire à suivre », dans Ferrer Mathilde, Michaud Yves (dir.), Féminisme, art et histoire de l’art, op. cit., p. 41-62, ici p. 55. Lisa Tickner souligne.
144Das Schöne Mädchen, 1919-1920, note de l’auteure.
145« It seems to me that in terms of contemporary theoretical discussions about the representation of women, Hannah Höch’s photomontage, with its breaking down of woman into unrelated parts and putting them together again and its questioning of the “natural” in every sense, becomes much more central than we might have thought before. », Nochlin Linda, « An Interview with Linda Nochlin », art. cité, p. 89.
146Nochlin Linda, Femmes, art et pouvoir, op. cit., p. 46. Linda Nochlin souligne.
147« I think that that is one of the possible directions – a more theoretical, more negative, more critical one. Rather than saying this is a “good” representation of women, or this is a “good” artist because she’s a woman, there’s going to be a lot of critical analysis of the contradictions involved in representation, whether by men or by women, and more about how the spectator is positioned in relation to the female image, whatever the image may be. », Nochlin Linda, « An Interview with Linda Nochlin », art. cité, p. 89.
148Nochlin Linda, « Géricault : The Absence of Women », dans Representing Women, op. cit., p. 58-80, ici p. 79.
149« the term “woman” fights back, and resists attempts to subdue its meaning or reduce it to some simple essence, universal, natural, and above all, unproblematic », Nochlin Linda, « The Myth of the Warrior Woman », dans Nochlin Linda, Representing Women, op. cit., p. 35.
150Spivak Gayatri, « Féminisme et théorie critique » [1976], dans En d’autres mondes, op. cit., p. 150-175, p. 151.
151« Because of Nochlin’s willingness to look at the manipulation of visual codes within a historical moment, and without a conceptual dependence on artistic intentionality as such, she manages to avoid the methodological trap of only being able to see so-called positive representations of women […] as a product of “proto-feminism” (or some other such enlightened stance), and negative representations as a result of misogyny. The position that cultural producers create for themselves or find themselves in at any moment, and the way in which representation produces meaning, are too complex to be stated so glibly, her work reminds us. », D’Souza Aruna, « Fragments and paradoxes » dans Nochlin Linda, D’Souza Aruna (dir.), Self and History, op. cit., p. 13. Aruna D’Souza souligne.
152« despite the absence of women in Géricault’s oeuvre, the signs of femininity and the feminine (in the form of the castrated or otherwise marginalised or disempowered male body) abound in his work. It is simply that these signs of the feminine have been detached from the representation of the actual bodies of women. », Nochlin Linda, « Géricault : The Absence of Women », dans Nochlin Linda, Representing Women, op. cit., p. 66.
153« In the 19th century, with its increasingly commodified system of representation of the female body, a body disempowered, objectified, pacified, prettified, exaggeratedly sexualised or purified, Géricault’s absenting or marginalisation of women, like the representation of other oppressed groups – the poor or blacks or the insane – assumes the position of a positive intervention within the dominant discourse. […] I understand Géricault’s absenting of women from his oeuvre as a relatively positive gesture: an absence which is, in fact, a moving and provocative presence. », ibid., p. 79.
154« call into question, by means of unconventional structures of composition and expression, the notion that the family is the natural site of feminine existence, rejecting the standard codes and pictorial conventions of the time, even those informing many of the engaging family representations of his Impressionist colleagues. », Nochlin Linda, « A House is not a Home: Degas and the Subversion of the Family », dans Nochlin Linda, Representing Women, op. cit., p. 153-179, ici p. 179.
155Nochlin Linda, Femmes, Art et Pouvoir, op. cit., p. 193.
157Rencontrant Louise Bourgeois lors de l’un des premiers grands rassemblements féministes, Nochlin lui aurait parlé, en passant, de son projet de prendre une photographie équivalente, qu’elle compte appeler « achetez mes saucisses ». C’est Bourgeois qui aurait suggéré les bananes à la place. « En tout cas », raconte Nochlin, « il me semble que ça s’est passé ainsi. » Voir Nochlin Linda, « Trente ans plus tard », dans Pourquoi…, op. cit., p. 89.
158Nochlin Linda, Femmes, Art et Pouvoir, op. cit., p. 197.
159« the social implications of sexual difference and the lack of a comparable imagery through which male body parts are universalized. », Chadwick Whitney, [Compte rendu de Women, Art and Power and Other Essays], art. cité, p. 38.
160« The process, here as elsewhere, is perhaps best seen as a dialectical one. The thesis is represented by the erotic art of a male-dominated culture, and the antithesis by women’s current response to that – an attack on the patterns of dominance and submission within it, a rejection or parody of the standards by which women are judged sexually desirable, a repossession for our own use of the “colonized” and alienated female body, and tentative steps towards the expression of a sensual appreciation of the male. The synthesis is yet to come, and apart from the fact that one obviously hopes for a truly androgynous human culture, and the kind of authentic erotic expression that would be its corollary; to discuss it at this stage would clearly be premature. », Tickner Lisa, « The Body Politic. Female Sexuality and Women Artists since 1970 », Art History, vol. 1, no 2, 1978, p. 236-249, ici p. 247.
161Nochlin Linda, Femmes, Art et Pouvoir, op. cit., p. 98.
162« Women and other marginalized groups that enter history do not simply substitute for white male authority; they change the whole paradigm. Instead of occupying the position of heroes, they bring new premises into art. », Nochlin Linda, « Writing History “Otherly” », Mobile Fidelities: Conversations on Feminism, History and Visuality, op. cit., p. 17.
163« The new premises of postmodernism permit a much less absolute and superior kind of both production and interpretation. […] We should still be focused and work on equality between men and women, and challenge what equality means in various places and various moments. », ibid., p. 14-15.
164« When I had myself painted into Manet’s Bar at the Folies Bergère by feminist artist Kathleen Gilje, it was because I wanted to be there, at the heart of that painting, looking out of it and at the same time being in it, a fantasy come true. », Nochlin Linda, A Life of Learning, op. cit., p. 18.
165Nochlin Linda, Les Politiques de la vision, op. cit., p. 42.
166« Can we ever look at the old masters with new eyes, see the great works of the past with virgin vision, as though for the first time? Gilje’s thought-provoking “restorations” shock us, gently or blatantly, into doing just that. », Nochlin Linda, « Seeing beneath the Surface (Kathleen Gilje) » [2002], dans Nochlin Linda, Women Artists : The Linda Nochlin Reader, op. cit., p. 252-260, ici p. 253.
167« a form of embodied quotation that cannot be seen as simply repetition, but is instead altered through its processing », Grant Catherine, A Time of One’s Own: Histories of Feminism in contemporary Art, Durham (NC), Duke University Press, 2022, p. 16 (à partir de cette page, cette référence est citée sous le titre raccourci : A Time of One’s Own).
168« el cuadro de Manet, en realidad, se transforma en una especie de fondo para el retrato de la conocida historiadora del arte », Muñoz María Elena, « Re historiar / re pintar: a propósito de un retrato de Linda Nochlin », Revista de Teoría del arte, no 36, 2022, p. 11-24, ici p. 13.
169« My passion for justice for women is perhaps my strongest passion of all, and a lasting one: justice for all women, everywhere. I do not feel obliged to love all women, to like them, or to know them. I no more feel that all women are my sisters than I feel all men are my brothers. Justice is not the same as love or fellow feeling. But I do feel obligated, within a more restricted domain, to support or speak out for the women artists I like or who arouse my interest, and to teach and disseminate the work of feminist art historians and art critics, who believe, as I do, that art history and criticism are critical practices. », Nochlin Linda, A Life of Learning, op. cit., p. 20.
170Collin Françoise, « Entre poiêsis et praxis : Les femmes et l’art », Diogène, vol. 225, no 1, 2009, p. 101-112, ici p. 104.
171« In founding a feminist art historical project, Nochlin proposes the methodological study of artistic production, namely by debunking the entrenched sexist notions that art creation arises through autonomous genius, which channels the personal expression of individual emotional experience. She does not advocate, however, for studying feminine expression as a comparable essence to the masculine genius. To assert there are such great woman artists, as yet undiscovered, would confirm the status quo of the terms by which “great art” is judged. It would be to ignore the necessary conditions generally productive of recognizable art practices that are largely unavailable to subjugated subjects. », Steinbock Eliza, « Collecting Creative Transcestors: Trans* Portraiture History, from Snapshots to Sculpture », dans Robinson Hilary, Buszek Maria Elena (dir.), A Companion to Feminist Art, op. cit., p. 225-242, p. 225.
172« The feminist critique of art history […] faces a slippery double task: to simultaneously interrogate existing forms of writing and knowledge production, while attempting to develop new and different forms. » « Writing| Speaking | Storytelling », dans Horne Victoria, Tobin Amy (dir.), Feminism and Art History Now, op. cit., p. 25-30, ici p. 26.
173« it is only in gender difference that a real allegory of the transgressive can be constructed. », Nochlin Linda, « Courbet’s Real Allegory », dans Nochlin Linda, Representing Women, op. cit., p. 145.
174« bring about re-evaluation, making us look again at pictures which have been cast aside and really rethink the implications of this rejection, making us ask what elements exist within the work of art that one might look at from a feminist viewpoint. », Nochlin Linda, « How Feminism in the Arts… », art. cité, p. 85. (Les textes de son recueil sur Courbet, dit d’ailleurs Nochlin, « ne sont pas concevables sans la composante féministe qui domine mes priorités en histoire de l’art et qui continue sous une forme toujours changeante, jusqu’à aujourd’hui. » « certainly are unthinkable without the dominating feminist component of my art-historical agenda, which continues, in ever-changing form, to this day. », Nochlin Linda, Courbet, op. cit., p. 7.)
175« Rosa Bonheur now sits in the central position of The Painter’s Studio. Courbet, nude, or rather partly draped, stands modestly behind her. She is wearing a striped skirt (we can leave her Courbet’s jacket; with a few alterations, it will do), and vigorously painting – with her loaded brush – a bull. », Nochlin Linda, « Courbet’s Real Allegory », dans Nochlin Linda, Representing Women, op. cit., p. 145.
176« The little girl turns around; we see that she is, in fact, the young Mary Cassatt (or Berthe Morisot or Georgia O’Keeffe or Hannah Höch) any number of possibilities are available. Now, the anonymous women in the picture, led by the Irishwoman, begin to converge on the center of the stage; the men gradually sink into the shadows, where they take off their clothes, and, equally importantly, lose their name. », ibid.
177« They all have names […]. They introduce themselves to each other and engage in animated conversation; they have a lot of catching up to do. They turn to look at the naked men in their ridiculous poses and suddenly, they all burst into laughter, great gales of body-shaking, uncontrollable laughter; they laugh and they laugh and they simply cannot stop… », ibid.
178Bakhtine Mikhaïl, L’Œuvre de François Rabelais et la culture populaire au Moyen Âge et sous la Renaissance, traduction d’Andrée Robel, Paris, Gallimard, 1970 [1965], p. 127. Voir aussi Petit Dit Duhal Quentin, « De masques et de costumes. La mascarade identitaire des artistes femmes aux xxe et xxie siècles », Lea, vol. 9, 2020, p. 415-422. DOI : 10.13128/LEA-1824-484x-12446 (consulté le 7 mars 2024).
179« This is the unreal allegory, and perhaps the never real one as well: an allegory of what can never be as long as we live in the land where Oedipus rules. », Nochlin Linda, « Courbet’s Real Allegory », dans Nochlin Linda, Representing Women, op. cit., p. 146.