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

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.

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

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).

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).

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.

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.

8. Broude and Garrard, The Expanding Discourse, 4.

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

10. Ibid.

11. Ibid.

12. Broude and Garrard, The Expanding Discourse, 4.

13. Pollock, preface to Generations and Geographies, xvi.

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.

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

16. Ibid., 582.

17. Ibid., 600.

18. Ibid., 616.

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

20. Ibid., 514–15.

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

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

23. Janson and Janson, History of Art, 737.

24. Ibid., 736.

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.

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

27. Nochlin, Women, Art, and Power, xiii.

28. Parker and Pollock, Old Mistresses, 114.

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

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.