INDEX
Adam, Peter, 161
Adams, Timothy Dow, 185–86
Afrofemcentrism, 167
androgyne, 189
architecture: feminist scholarship on, 148. See also Raymond, Eleanor Agnes
Artaud, Antonin, 206
art historians: relationship with their subjects, 16, 17, 36–37, 39, 169, 248
art history: black artists in, 164–65; canon of, 2; male and female artists treated differently in, 13–15; rejection of women by, 245. See also monographs
art history, feminist: conflict with post structuralism of, 4–5; dilemmas of, 210–12; first-wave, 204; goals of, 3; origin of, 1–2; second-wave, 205; third-wave, 209
artist-hero, 187, 188
artists: in monograph vs. thematic case study, 201; poststructuralism and, 5; “singular,” 203. See also women artists
autobiography: Carolee Schneemann's letters as, 213, 214, 222, 223, 224, 225; De Man vs. Olney on, 222–24; Machann vs. Adams on, 185–86; Vic torian, 182. See also under Pereira, Irene Rice
Barrie, J.M., 67
Barthes, Roland, 5, 72, 74–75, 201
Baur, John I.H., 132–33
Beauvoir, Simone de, 51
Begemann, Egbert Haverkamp, 40
Bellows, George, 130
Benjamin, Walter, 72
Bildungsroman,186–87, [196n9]
biography, 179–80; in architectural history, [159n5]; feminist, 149; need for critically informed, 193; politics of, 220
Blocker, Jane, 72–73
boredom, 72
Bourgeois, Louise: The Destruction of the Father,239–40
Brakhage, Stan, 222
Brenson, Michael, 173
Bronzino, Il: Venus, Cupid, Folly, and Time,74
Broude, Norma, 5
Butler, Judith, 56
Cabanis, Pierre-Jean-George, [64n7]
Cambridge School of Architecture and Landscape Architecture for Women, 151, [160n16]
Caravaggio, 10
Carlyle, Thomas, [195n9]
Carroll, Lewis, 66–67, [78n1]
Cassatt, Mary: The Bath,104; linking of maternity and pleasure by, 108–9;
― 264 ―mother-child pictures (Modern Madonnas) of, 100, 101–2, 103–9, [110n6–7], 246; technique of, 105–6; writing about, 100Catlett, Elizabeth, 163–64; art historical invisibility of, 170–71, 172, 175–76; effect of motherhood upon, 173; iden tity of, 167–68; Mother and Child,173, 174; Negro Woman series, 163; writing about, 168–69
Cézanne, Paul, 228
Chadwick, Whitney, 245–46
Chapin, James, 131
Chesler, Phyllis, 143
Chessman, Harriet, 101
Chicago, Judy, 11, [18n14]
children/childhood, 13; visualization of, 106–8. See also under Cassatt, Mary Christie, J.R.R., 179
citation, 56
Claudel, Camille: Ripe Age,13
codex, 206
Cole, Doris, 157
Cottingham, Laura, 208
Cunningham, Mary, 152
d'Agesci, Bernard: Lady Reading the Letters of Heloise,62
Davidson, Abraham, 142
De Man, Paul, 222–23, 224
Dieckmann, Katherine, 71–72
discourses, 183–84
Douglas, Mary, 245
Eakin, Paul John, 222–23
Epstein, Catherine, 220
Eshleman, Clayton, 222
exception, 49, [63n1]
Faludi, Susan, 143
Father Time, 73–75, 240
Felman, Shoshona, 63
feminism, 211; backlash against, 143; as a politics, 202
feminist art history. See art history, feminist “feminist problematic,” 202
feminist scholarship: on architecture, 148–49
film, historical: dangers of, 34–35
Finch, Lucine, 84–86; article on Harriet Powers by, 82, 86–91, 95–99
Fitzgerald, F. Scott, 143–44
Fitzgerald, Zelda, 143–44
Fon culture, 84
Fontana, Felice, 54–55
Fraisse, Geneviève, 50
Frost, Henry Atherton, 151–52
Garrard, Mary D., 5, 56
genius, 229
Gentileschi, Artemisia, 8, 9; Boy Playing a Flute,10; Esther before Ahasuerus,25; film about, 21–23, 24–25, 27, 30–33, 35; Janson and Janson on, 10; Judith,25; Judith Slaying Holofernes,10, 25, 26; Portrait of a Gonfaloniere,24; as rule breaker, 23–24; Self-Por trait as the Allegory of Painting,25, 56; Susanna and the Elders,25
Gentileschi, Orazio, 22
Goldberg, Gerald, 187, 188
Golub, Leon, 209–10
Goodrich, Lloyd, 132, 133
Gopnik, Adam, 101
Gordon, Phyllis, 116
Gray, Eileen, 156, [161n19]
greatness, 203, 204
Gropius, Walter, 155
Hals, Frans, 38–39
Hammond, Natalie, 157, 161–62
Hansen, Al, 233
Hardy, Thomas, 126
Harms, Juliane, 38
Harris, Ann Sutherland, 37
Hartley, Marsden, 124
Hartsock, Nancy, 165
Hawarden, Clementina, 66–67, 76–78, 246; Dundrum Series,68, 69, 70; Un titled,77
Heilbrun, Carolyn, 121
Henri, Robert: The Art Student,134
hero, 33–34
Higgins, Dick, 229–30
High, Freida, 167
history: formal analysis and, 109
Hollway, Wendy, 183
hooks, bell, 165, 168
Hopper, Edward, 130–32; Jo Painting South Truro Church in the Wind,136; lack of support for wife's painting, 132, 144; November, Washington Square,137–38; painting trips with wife, 135–36, 137–39
Hopper, Josephine Nivison, 12; claim of madness against, 143–44; destruction of work of, 132–33, 244; Jewels for the Madonna,139–40; Judson Tower, Washington Square, Looking South,137–39; loss of professional identity upon marriage, 130, 131; Obituary,136–37, 139; Odor of Sanctity,136;
― 265 ―painting trips with husband, 135–36, 137–39; posing for husband, 140; Self-Portrait,140, 141; writing about, 133–35, 142Hopwood, Avery, 124
House Beautiful,154–55
Janson, Anthony, 9–11, 13–14
Janson, H.W.: lack of women in first edition of The History of Art,2–3, 240; women in fifth edition of The History of Art,9–11, 13–14, 240
Juley, Peter, 115
Jung, Carl, 188, 189, 190
Kahlo, Frida, 114, 243
Kerby, Paul, 184–85
Kirsten, Lincoln, 122
Kristeva, Julia, 73
Künstlerroman,181–82, 187, [195–96n9]
landscapes, 70–71
Le Doeuff, Michele, 53
Lerner, Gerda, 52–53
Lewis, Samella, 164
Leyster, Judith, 9, 10; community of, 40–42; A Game of Tric-Trac,40; The Last Drop,[47n13]; The Proposition,39, 41; rediscovery of, 37–40; Self-Portrait,37, 38, 40; Tulip,[47n13]
Lin, Maya, 34
Lippard, Lucy, 165
Mann, Sally: Sempervirens “Stricta,”68, 70; Two Virginias photographs, 76; Untitled (Georgia Landscape),72, 73; Untitled (Virginia Landscape),76, 78
Marie-Antoinette, 51
Marranca, Bonnie, 218
marriage: effect upon women artists' careers of, 12, 43, 130, 131
maternity: pleasure and, 108–9
Mauclair, Camille, 11
McWillie, Judith, 168
Mendieta, Ana, 243
Merlet, Agnes: film Artemisia by, 21–23, 24, 25, [28n8], 32, 33, 35
Metz, Christian, 74
Miller, Nancy, 113
Mitchell, Claudine, 14
modernism: Eleanor Raymond's regional, 155; Florine Stettheimer and, 112–13
Moi, Toril, 52, 239
monographs, 13; contrasted with the matic case studies, 201–2; “heroic” model in, 113; inadequacy of, 149; as masculinized form, 200, 204; necessity of, 121; women architects and, 148–49; women artists and, 244
Morgan, Julia, 156
Morisot, Berthe, 11, 107
Mother Earth, 72, 74
mothers, 67. See also under Cassatt, Mary
museums: women artists and, 12, 244–45
New Museum, [235n20]
New York School of Art, 134
Nivison, Josephine. See Hopper, Josephine Nivison
Nochlin, Linda, 15, 165; “Why Have There Been No Great Women Artists?,” 1–2, 3, 204, 228, 236
nostalgia, 77
Novak, Barbara, 142–43
Nussbaum, Felicity, [196n13]
O'Doherty, Brian, 142, 143
O'Keeffe, Georgia, 112, 114, 123
Olney, James, 223, 224
Orton, Fred, 179
Panofsky, Erwin, 73–74
Parker, Rozsika, 15
Peabody, Amelia, 155
Pereira, Irene Rice: The Artist,189; autobiography of, 180–82, 185, 186, 187, 190, 191, 247; influence of Jung on, 188, 189–90; lack of scholarship on, 190–91; writing about, 182–83, 191–93
Phillips, Adam, 72
photography: as medium of Father Time, 74–75
Pollock, Griselda, 5, 180; on Vigée-Lebrun, 51; on women artists, 2, 15, 238
poststructuralism, 4–5, 150
Powell, Richard J., 172–73
Power, Ethel, 149, 150, 152–55
Powers, Harriet, 12; Bible quilts of, 81–84, 85; explanation of quilt by, 86–91, 96–99; life of, 83; writing about, 92–94
Proust, Marcel, 76
racism, internalized, 166–67
Raymond, Eleanor Agnes, 11; education and training of, 150–51; Natalie Hays Hammond House, 156, 157; Rachel Raymond House, 146, 147, 155; regional modernism of, 155; relationship with Ethel Power, 149, 152–55; responsiveness to clients of, 157–58; writing about, 146–49, 156, 158
Raymond, Rachel, 152
Reynolds, Sir Joshua, 107
Rodin, Auguste, 13; The Kiss,14
Rose, Jacqueline, 181
Rubens, Peter Paul: Le Châpeau de Paille,56, 58, 59, 62
Schiller, Johann Christoph Friedrich von, 187, 188
Schneemann, Carolee, 12; Correspondence Course,215, [232n2]; Eye Body,215, 229; identity of, 222; Imaging Her Erotics,226; Interior Scroll,217; letters of, 213–16, 219–20, 222, 223, 224, 225, 226, 227, 228, 248; Meat Joy,217; More Than Meat Joy,225–26; neglect of, 225, [235n20]; Parts of a Body House Book,225; uncollectibility of, 244–45; writing about, 215–16, 218
self, 222–23
Selz, Peter, 217
Shakespeare, William, 35
Sheriff, Mary, 241
Smith, Jenny, 82–83, 84–85
Smith, Jessie Willcox, 102, 103
Soussloff, Catherine, 241
Spero, Nancy: Codex Artaud,206, 207; interpictorial dialogue with husband's work, 209–10; writing about, 202, 203–11
Stephens, Alice Barber, 107
Stettheimer, Ettie, 114, 115, 116, 121, 122
Stettheimer, Florine, 12, 140; Cathedral paintings, 111; A Day at West Point,122; modernism and, 112–13; Nude,124–25; Portrait of Myself,119, 120; private life of, 114–15, 116, 117–19, 122–23; public reaction to, 111; Russian Bank,115; scattering of work of, 122, 244; Soirée,124; writing about, 111–13, 121
Stewart, Susan, 245
Stiles, Kristine, 244
Swales, Martin, 187
Taller de Gráfica Popular (TGP), 163, 171
Tassi, Agostino, 21, 22
thematic case studies, 207; contrasted with monographs, 201–2
Thomas, Dylan, 226–27
Thomson, Virgil, 122
Tickner, Lisa, 202
Trinh T. Minh-ha, 210–11
Van Slyck, Abigail A., 150, 159
Vigée-Lebrun, Elisabeth, 10–11; autobiography, 54–55, 57; The Duchesse de Pulignac,10; emulation of Rubens, 56, 57, 59, 60, 62; as exception, 49, 50; feminist reception of, 51–52; as history painter, 51–52, 59; Peace Bringing Back Abundance,51–52, 58; Self-Portrait (1783), 56–60; self-portrait (1789), 50–51; self-representation, 53–54; writing about, 48, 54–55, 60–61
Vonnoh, Bessie Potter, 107
Walter, Josephine, 116
Whitney Museum of American Art, 132–33
Winnicott, D.W., 67
women: claims of madness against, 143–44; exceptional, 8, 49–50; Jung on modern, 188, 190
women architects: culturally imposed modesty of, 147, 150–51
women artists: as contradiction in eighteenth-century France, 48; decision not to bear children by, [236n38]; described as products of male mentors, 9–10, 14, 25–27; erasure of, 11–12; marriage and, 12, 43, 130, 131; motherhood and, 10, 43; museums and, 12, 244–45; “recovered,” 3; rejection by traditional art history of, 245; in a state of almost being missed, 241; superficial treatment of, 9–11; term used as distinct from great artist, 15; writing about forgotten, 130; written about by women, 7
women's time, 73, 74, 75, 240
Woodman, Francesca: Space Squared,241–43
Woolf, Virginia, 52