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Why is everything that compromises greatness in art coded as 'feminine'? Has the feminist critique of Art History yet effected real change? With a new preface by Griselda Pollock, this edition of a truly groundbreaking book offers a radical challenge to a women-free Art History. Parker and Pollock's critique of Art History's sexism leads to expanded, inclusive readings of the art of the past. They demonstrate how the changing historical social realities of gender relations and women artists' translation of gendered conditions into their works provide keys to novel understandings of why we might study the art of the past. They go further to show how such knowledge enables us to understand art by contemporary artists who are women and can contribute to the changing self-perception and creative work of artists today. In March 2020 Griselda Pollock was awarded the Holberg Prize in recognition of her outstanding contribution to research and her influence on thinking on gender, ideology, art and visual culture worldwide for over 40 years. Old Mistresses was her first major scholarly publication which has become a classic work of feminist art history.
Rozsika Parker (1945-2010) published widely in Art History and Psychoanalysis. The Subversive Stitch: Embroidery and the Making of the Feminine first appeared in 1984. Torn in Two: The Experience of Maternal Ambivalence was published in 1995. She and Griselda Pollock together wrote Old Mistresses: Women, Art and Ideology (1981) and edited Feminism: Art and the Women's Movement 1970-1985 (1987).
Preface by Rozsika Parker and Griselda Pollock A Lonely Preface to the New Edition by Griselda Pollock Acknowledgments 1 Critical Stereotypes: the essential feminine or how essential is femininity 2 Crafty women and the hierarchy of the arts 3 'God's little artist' 4 Painted ladies 5 Back to the twentieth century: femininity and and feminism Conclusion Notes Select bibliography and further reading Index
