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'Nochlin’s influence on critical writing and teaching is legendary, and this engrossing analysis of the visual representation of misery in the 19th century is a must-read for anyone hoping to address our troubling times' - Cindy Sherman
'Nochlin’s influence on critical writing and teaching is legendary, and this engrossing analysis of the visual representation of misery in the 19th century is a must-read for anyone hoping to address our troubling times' - Cindy Sherman
'This slim, erudite, enlightened volume is a heartfelt coda to [Linda Nochlin’s] oeuvre' - Financial Times
'Brilliant and important … Nochlin was a trailblazer to the end' - Apollo
'Nochlin speaks clearly and simply to the ongoing question of whether art can or should be form of activism' - Art Review
'A fresh perspective to the emotive and controversial subject of depicting the poor … insightful art criticism meets social history' - The Lady
'What endures in this final book is a fixation with the past as a portal to present misères, whether persistent gender inequalities or economic disparities as extreme as those of the industrial age' - Scotland on Sunday
'It is to Linda Nochlin’s credit that she found the words to match the images that form the heart of this beautifully produced book' - Spectator
'Lively and fascinating … a valuable publication' - Irish Arts Review
'A fascinating coda to a great career' - Frances Spalding, Guardian
Linda Nochlin (1931–2017) was Lila Acheson Wallace Professor Emerita of Modern Art at the New York University Institute of Fine Arts. She wrote extensively on issues of gender in art history and on 19th-century Realism. Her numerous publications include Women, Art and Power, Representing Women and Courbet, as well as the pioneering essay from 1971: ‘Why Have There Been No Great Women Artists?’
'Nochlin’s influence on critical writing and teaching is legendary, and this engrossing analysis of the visual representation of misery in the 19th century is a must-read for anyone hoping to address our troubling times' - Cindy Sherman
'This slim, erudite, enlightened volume is a heartfelt coda to [Linda Nochlin’s] oeuvre' - Financial Times
'Brilliant and important … Nochlin was a trailblazer to the end' - Apollo
'Nochlin speaks clearly and simply to the ongoing question of whether art can or should be form of activism' - Art Review
'A fresh perspective to the emotive and controversial subject of depicting the poor … insightful art criticism meets social history' - The Lady
'What endures in this final book is a fixation with the past as a portal to present misères, whether persistent gender inequalities or economic disparities as extreme as those of the industrial age' - Scotland on Sunday
'It is to Linda Nochlin’s credit that she found the words to match the images that form the heart of this beautifully produced book' - Spectator
'Lively and fascinating … a valuable publication' - Irish Arts Review
'A fascinating coda to a great career' - Frances Spalding, Guardian
Linda Nochlin (1931–2017) was Lila Acheson Wallace Professor Emerita of Modern Art at the New York University Institute of Fine Arts. She wrote extensively on issues of gender in art history and on 19th-century Realism. Her numerous publications include Women, Art and Power, Representing Women and Courbet, as well as the pioneering essay from 1971: ‘Why Have There Been No Great Women Artists?’