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“... Most people, if they think of Dora Maar at all, remember her as the subject of one of Picasso’s most persistent and variegated portrait series. There is Dora Maar the elegant woman of the world in Femme à la résille (Woman with a Snood) of 1938, one of a group of brightly coloured portraits of the sitter done in that year in which she is wearing bizarre headgear ...”

“... There often seems to be a connection between the style of an art historian or critic and that of his or her favourite artist. Reading Tim Clark on Courbet, it is easy to see the reasons why the writer chose his subject: iconoclasm, a bold and aggressive rejection of stylistic precedence and traditional modes of expression are common to both. In the case of Robert Hughes, author of the monumental American Visions: The Epic History of Art in America, the artist of choice would be John Singer Sargent, brilliant pictorial chronicler of the beau monde of the 19th century ...”

“... Louise Bourgeois is one of the two pre-eminent sculptors working today; the other is Richard Serra, whose sculpture – single-minded, monolithic, public – offers the most striking contrast to hers in both form and content. Serra is Isaiah Berlin’s hedgehog exemplified in heavy metal: Louise Bourgeois is the fox, an artist of many devices, to borrow a Homeric epithet which suits her perfectly ...”

“... I must have been quite young the first time I saw Picasso’s Demoiselles d’Avignon at the Museum of Modern Art, barely into my teens. I knew little about Cubism, less about Iberian sculpture, and nothing at all about the title’s supposed reference to a brothel in Barcelona; I am not sure I even knew what a brothel was. All I knew was that this was a great masterpiece by the greatest artist of our time, and I responded with appropriate awe and admiration ...”

“... Mary Cassatt’s Lady at the Tea Table (1883-85) establishes her as one of the outstanding American painters of the 19th century. Indeed, it is one of the most remarkable portraits, American or not, of its time. A subtle combination of strength and fragility, the painting shows Mrs Riddle, Cassatt’s first cousin once removed. The sitter rejected it, apparently feeling that it did not do justice to her reputation as a great beauty ...”

“... The question​ ‘Why are there no great women artists?’ was first put to Linda Nochlin in 1970 by the New York gallerist Richard Feigen. It was a genuine inquiry. He would love, he said, to show women artists. The problem was he couldn’t find any good enough. Stumped for an answer at the time, Nochlin continued to consider the question ...”

“... but a simper. Lipton starts with a meeting at Hunter College between herself and the art historian Linda Nochlin, whose works are also advertised on the dust-jacket. ‘Nochlin was taller than I expected and more girlish. Also less pretty. I assumed that if she was a woman and well-known, she couldn’t be ...”

“... as well as class, in response above all to a series of interventions by feminist scholars such as Linda Nochlin and Griselda Pollock. In their ambitious new survey of 19th-century European and American art, Stephen Eisenman and his collaborators have sought to build on this legacy and to consolidate the gains they feel have been achieved. Apart from ...”

“... and the power that men have held over women, even as they painted compelling pictures of them. Linda Nochlin has long been a critical presence on both sides of the Atlantic, known for formulating big, bold ways of understanding images of women. Her forte has been the blunt insight, brilliant in its very plainness of address, that throws into question ...”

“... is in music what you are in painting.’ Renoir is seen as having lost his nerve. According to Linda Nochlin, ‘after the bold attempt of Impressionism to eradicate the past and create an art modern in both its formal strategies and its subject matter’, Renoir and others, ‘dissatisfied with the openness, instability and vivid contemporaneity ...”

“... of the few disturbing subjects of the modern age. As George, who’d obviously been reading his Linda Nochlin, told Farson, ‘The male nude is still shocking ... Nudes have always been women because men have the money, look at advertising. If a woman artist painted women, her work would not be described as lesbian.’ Men who paint men have long been ...”

“... tea party, inviting a (carefully curated) collection of guests.Writing about Stettheimer in 1980, Linda Nochlin called her a ‘Rococo subversive’. It might have seemed like a joke, but she meant it. Barbara Bloemink’s new biography continues in Nochlin’s provocative spirit. According to Bloemink, Stettheimer was ...”

“... of Victorian Britain, Bonheur’s subjects don’t easily lend themselves to gendered analysis. Linda Nochlin deplored Bonheur’s indecision in both asserting and shunning her femininity (Nochlin called it ‘frilly blouse syndrome’). Bonheur exemplifies the problem of the ‘exceptional’ woman painter, whose ...”

“... help from various agencies in the US government as part of a Cold War propaganda offensive. Linda Nochlin, Mary Kelly, Griselda Pollock and others mounted feminist critiques of such received notions as disinterested taste. The dismantling of Greenberg’s authority reached its height during his debate with T.J. Clark at the ‘Modernism and ...”

“... resurgent Marxism and feminism of the 1960s, engaged scholars including T.J. Clark, Thomas Crow, Linda Nochlin and Griselda Pollock asked difficult questions about class, audience, gender and sexuality, questions that were soon rumbling through other fields as well. Yet disruptive though these inquiries were, they mostly continued to insist on the ...”