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Product details
Hardcover: 373 pages
Publisher: Farrar Straus & Giroux; 1st edition (1979)
Language: English
ISBN-10: 0374224129
ISBN-13: 978-0374224127
Package Dimensions:
9.8 x 6.6 x 1.7 inches
Shipping Weight: 3 pounds
Average Customer Review:
4.8 out of 5 stars
5 customer reviews
Amazon Best Sellers Rank:
#1,081,245 in Books (See Top 100 in Books)
This is the second time I have purchased this book. Such a well researched history of women in art. We are led to believe that women were not historically great artists and this proves not to be true at all. I teach art history and use this as a resource.
Perfect. I had looked at this book from the library previously. So lovely to own it!
Germaine Greer is/ was a fine academic. However, the media used to wind her up , turn her on, and sit back and watch the fireworks. This used to cloud her fine body of academic study. This book really should be out there and being appreciated .
Entertainingly written, scholarly inventory of how women artists historically have procrastinated or been prevented from doing their art work (by other concerns, or circumstance). By a major feminist author. Great for coming to terms with one's own creative work block and getting focused.
When this work came out, in 1979, it must have really been a revelation. Women artists who felt that they were a new phenomenon in art could see how long their story really was. Greer did a great deal of research to locate these paintings and discover what she could about the artists.The structure of the book reflects the title. There are chapters on the obstacles: family, love, the illusion of success, humiliation, and others. No matter what choice a woman artist made - to remain single, to get married, to embrace success, to shun it - there was a price to be paid. The second part, titled "how they ran" discusses schools and great artists, particularly Artemsia Gentileschi and Lavinia Fontana. Other areas of focus are painters of still life, miniaturists, and portraitists.Sometimes I hoped for more information on the women artists themselves, who at times seem to form a great mute crowd. Especially in the first section, they are mentioned so briefly we don't really get a sense of them. In the sections on individuals, there is more of a feeling of who these women were.However, maybe that was Greer's point, namely, that no matter the artist, if female, she would have to deal with the same obstacles. It then forms a kind of collective biography.
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