A VOCAÇÃO HISTORIOGRÁFICA DA HISTÓRIA FEMINISTA DA ARTE
Resumo
Através da análise de um conjunto de obras representativas da história feminista da arte dos anos 1970 e 1980, de autoras seminais para esse campo de estudos, a saber, Linda Nochlin, Ann Sutherland Harris, Germaine Greer, Roszika Parker e Griselda Pollock, pretende-se, no presente trabalho, explorar a preocupação com historiografia da arte comum a todas elas. Em um cenário de disputa de narrativas-mestras e de tentativa de inserção de artistas, colecionadoras, curadoras e marchands mulheres nas linhas gerais dos grandes manuais de história da arte, a historiografia tem se mostrado um cenário privilegiado para esses embates, e a busca pelas raízes historiográficas dessas discussões, nas figuras de Plínio o Velho, Boccaccio e Vasari, marca a obra inicial das autoras aqui estudadas.Palavras-chave: História feminista da arte; Historiografia da arte; Artistas mulheres.THE HISTORIOGRAPHIC VOCATION OF FEMINIST ART HISTORY Abstract: Through the analysis of a set of works representing feminist art history from the 1970s and 1980s, by seminal authors in this field of study, namely Linda Nochlin, Ann Sutherland Harris, Germaine Greer, Roszika Parker and Griselda Pollock, we wish to explore, in the present work, the preoccupation with art historiography common to all of them. In the scenario of master narratives and the attempted insertion of women artists, collectors, curators and art dealers in the broad lines of art history’s great manuals, historiography has been a privileged context for these conflicts, and the search for historiographical roots of such discussions in the figures of Pliny the Elder, Boccaccio and Vasari marks the initial work of the authors studied here. Keywords: Feminist art history; Historiography of art; Women artists.Referências
L’ANCIEN, Pline. Histoire Naturelle XXXV: La Peinture. Paris: Les Belles Lettres, 2002.
BLOCH, R. Howard. Misoginia medieval e a invenção do amor romântico ocidental. São Paulo: Editora 34, 1995.
BOCCACCIO, Giovanni. De claris mulieribus. Die grossen Frauen. Stuttgart: Reclam, 1995 [1361-62].
______. Famous women. Cambridge, Mass.; London: Harvard University Press, 2003 [1361-62].
COULSON, William D. The reliability of Pliny’s chapters on Greek and Roman Sculpture. The Classical World, v. 69, p. 361-372, mar. 1976.
GREER, Germaine. The obstacle race: the fortunes of women painters and their work. New York: Farrar Strauys, 1979.
HARRIS, Ann Sutherland; NOCHLIN, Linda. Women artists 1550-1950. New York: Alfred A. Knopf, 1976.
KING, Margaret L.; RABIL Jr., Albert. The other voice in early modern Europe: Introduction to the series. In: SCHURMAN, Anna Maria von. Whether a Christian woman should be educated and other writings from her intellectual circle. Chicago: Chicago University Press, 1998. p. vii-xvii.
NOCHLIN, Linda. Why have there been no great women artists? In: _____. The Linda Nochlin Reader. London: Thames & Hudson, 2015 [1971]. p. 42-68.
POLLOCK, Griselda (org.). Vision and difference: Feminism, femininity and the histories of art. London and New York: Routledge, 1988.
______.; PARKER, Rozsika. Old mistresses: Women, Art and Ideology. New York: I.B.Tauris, 2013 [1981].
VASARI, Giorgio. The lives of the artists. Oxford: Oxford University Press, 1998 [1568].
______. Le Vite de’ piú eccellenti architetti, pittori, et scultori italiani, da Cimabue, insino a’ tempi nostri. Torino: Einaudi, 1991 [1550]. 2 vol.
Os autores de trabalho(s) submetido(s) à Paralelo 31 autorizam sua publicação em meio físico e eletrônico, unicamente para fins acadêmicos, sem fins lucrativos ou custo, podendo ser reproduzidos desde que citada a fonte (Paralelo 31). Os mesmos, atestam sua orignalidade, autoria e ineditismo.
data de submissão
Declaration of Copyright
The author presents his/her submission to the periodical Paralelo 31 authorize(s) publication in physical and electronic media, solely for academic purposes, at no cost to the publisher, are aware that future citations of the work are permitted as long as Paralelo 31 is cited as primary source. The authors also attest that the work has never been published and is an original work by the stated author(s). (data de submissão)
