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Women were professionally active in the academic discipline of art history in the nineteenth century and participated in the important shift early in the century that began involving an "Emphatically Corporeal Visual Subject", with Vernon Lee as a notable example.[1] It is argued that in the twentieth century women art historians (and curators), by choosing to study women artists, "dramatically" "increased their visibility".[2] It has been written that women artists pre-1974 were historically one of two groups; women art historians and authors who self-consciously address high school audiences through the publication of textbooks.[3] The relative "newness" of this field of study for women,[3] paired with the possibility of interdisciplinary focus, emphasizes the importance of visibility of all global women in the art history field.
- ^ Fraser, Hilary (1998–1999). "Women and the Ends of Art History: Vision and Corporeality in Nineteenth-Century Critical Discourse". Victorian Studies. 42 (1): 77–100. doi:10.2979/vic.1998.42.1.77. JSTOR 3829127.
- ^ Tannenbaum, Judith (1994). "East Coast- C Is for Contemporary Art Curator: Curiosity, Contradiction, Collaboration, Challenge". Art Journal. 53 (3): 47, 49, 51, 53 55, 57, 59. doi:10.2307/777431. JSTOR 777431.
- ^ a b Clark, Roger; Ashley Folgo (2006). "Who Says There Have Been Great Women Artists? Some Afterthoughts". Art Education. 59 (2): 47–52. JSTOR 27696136.