1. For example, in Linda Nochlin, Women, Art, and Power and Other Essays (New York: Harper and Row, 1988). [BACK]

2. Linda Nochlin, untitled paper presented as part of a panel discussion, “Language and Desire,” at Hunter College, New York, October 1997, held in conjunction with the exhibition “Text and Touch” at the Hunter College Art Galleries. [BACK]

3. Griselda Pollock, preface to Generations and Geographies in the Visual Arts: Feminist Readings (London: Routledge, 1996), xv. [BACK]

4. H.W. Janson, The History of Art: A Survey of the Major Visual Arts from the Dawn of History to the Present Day (Englewood Cliffs, N.J.: Prentice Hall, 1962). [BACK]

5. See Norma Broude and Mary D. Garrard's Feminism and Art History: Questioning the Litany (New York: Harper and Row, 1982), The Expanding Discourse: Feminism and Art History (New York: Icon Editions, 1992), and The Power of Feminist Art: The American Movement of the 1970s, History and Impact (New York: Harry N. Abrams, 1994); Rosemary Betteron's Looking On: Images of Femininity in the Visual Arts and Media (New York: Pandora, 1987); Nancy Heller's Women Artists: An Illustrated History (New York: Abbeville Press, 1987); Whitney Chadwick's Women, Art, and Society, rev. ed. (New York: Thames and Hudson, 1997); Rozsika Parker and Griselda Pollock's Old Mistresses: Women, Art and Ideology (New York: Pantheon, 1981); Griselda Pollock's Vision and Difference: Feminism, Femininity and the Histories of Art (New York: Routledge, 1988), and Differencing the Canon: Feminist Desire and the Writing of Art's Histories (New York: Routledge, 1999); Lucy Lippard's Eva Hesse (New York: New York University Press, 1976; New York: Da Capo Press, 1992); Reine-Marie Paris's Camille Claudel (Paris: Adam Biro, 1990); and Hayden Herrera, Frida: A Biography of Frida Kahlo (New York: Harper and Row, 1983). [BACK]

6. In my judgment, work by Hayden Herrera on Frida Kahlo (Frida) and Cecily Langdale on Gwen John (Gwen John, New Haven, Conn.: Yale University Press, 1987) exhibits these problems. [BACK]

7. Kristen Frederickson, “Gendered Expectations: The Critical Reception of the Life and Work of Camille Claudel” (Ph.D. diss., Bryn Mawr College, 1992; excerpts published in “Carving Out a Place: Gendered Critical Descriptions of Camille Claudel and Her Sculpture” Word and Image 12, no. 2 (1996): 161–74. To date, the published result of my monographic work is “Anna Semyonovna Golubkina: Sculptor of Russian Modernism,” Woman's Art Journal 18, no. 1 (1997): 14–19. [BACK]

8. Broude and Garrard, The Expanding Discourse, 4. [BACK]

9. Roland Barthes, “The Death of the Author,” in Modern Criticism and Theory, ed. David Lodge, rev. ed. (New York: Longman, 1999), 170. [BACK]

10. Ibid. [BACK]

11. Ibid. [BACK]

12. Broude and Garrard, The Expanding Discourse, 4. [BACK]

13. Pollock, preface to Generations and Geographies, xvi. [BACK]

14. My own incomplete and unscientific survey has turned up only one monograph on a woman artist written by a man (men, actually, in collaboration; is this relevant, I wonder?), and that is Sonia Delaunay: The Life of an Artist, by Stanley Baron and Jacques Damase (New York: Harry N. Abrams, 1995). A second example would be Edward Lucie-Smith, Judy Chicago: An American Vision (Chicago: Watson Guptill, 2000). But that volume too is a joint effort, this time a collaboration with the artist herself, Judy Chicago. [BACK]

15. H.W. Janson and Anthony Janson, History of Art, 5th ed. (New York: Harry N. Abrams, 2001), 552. [BACK]

16. Ibid., 582. [BACK]

17. Ibid., 600. [BACK]

18. Ibid., 616. [BACK]

19. Camille Mauclair, “L'art des femmes peintres et sculpteurs,” La Revue 39, no. 4 (1901): 523. [BACK]

20. Ibid., 514–15. [BACK]

21. Judy Chicago, Beyond the Flower: The Autobiography of a Feminist Artist (New York: Penguin, 1996). [BACK]

22. Randy Rosen, Making Their Mark: Women Artists Move into the Mainstream 1970–1985 (New York: Abbeville Press, 1989), 212–14. [BACK]

23. Janson and Janson, History of Art, 737. [BACK]

24. Ibid., 736. [BACK]

25. Cited in “Publish and Flourish: With Paul Gottlieb at the Helm, the Harry N. Abrams Imprint Is Celebrating Its 50th Anniversary,” Art News (December 1999), 52. [BACK]

26. Claudine Mitchell, “Intellectuality and Sexuality: Camille Claudel, the Fin de Siècle Sculptress,” Art History 12 (December 1989): 419. [BACK]

27. Nochlin, Women, Art, and Power, xiii. [BACK]

28. Parker and Pollock, Old Mistresses, 114. [BACK]

29. Lucy Lippard, Mixed Blessings: New Art in a Multicultural America (New York: New Press, 2000). [BACK]

30. See discussion of the notion of matrix in Griselda Pollock's “Inscriptions in the Feminine,” in Inside the Visible: In, of and from the Feminine, ed. Catherine de Zegher (Cambridge: MIT Press, 1995), 67–88, and Bracha Lichtenberg-Ettinger's “The With-In-Visible Screen,” in Zegher, Inside the Visible, 89–116. [BACK]