Vision and Difference: Feminism, Femininity and Histories of Art by Griselda PollockVision and Difference: Feminism, Femininity and Histories of Art by Griselda Pollock

Vision and Difference: Feminism, Femininity and Histories of Art

byGriselda PollockEditorGriselda Pollock

Paperback | March 7, 2003

Pricing and Purchase Info

$30.70 online 
$32.10 list price
Earn 154 plum® points

Prices and offers may vary in store


In stock online

Ships free on orders over $25

Not available in stores


Griselda Pollock provides concrete historical analyses of key moments in the formation of modern culture to reveal the sexual politics at the heart of modernist art. Crucially, she not only explores a feminist re-reading of the works of canonical male Impressionist and Pre-Raphaelite artists including Edgar Degas and Dante Gabriel Rossetti, but also re-inserts into art history their female contemporaries - women artists such as Berthe Morisot and Mary Cassatt.

Pollock discusses the work of women artists such as Mary Kelly and Yve Lomax, highlighting the problems of working in a culture where the feminine is still defined as the object of the male gaze. Now published with a new introduction,Vision and Differenceis as powerful as ever for all those seeking not only to understand the history of the feminine in art, but also to develop new strategies for representation for the future.

Griselda Pollock (1949-). Renowned art historian and critic, currently Professor of Social and Critical Histories of Art at the University of Leeds
Title:Vision and Difference: Feminism, Femininity and Histories of ArtFormat:PaperbackDimensions:368 pages, 8 × 5.1 × 1 inPublished:March 7, 2003Publisher:Taylor and FrancisLanguage:English

The following ISBNs are associated with this title:

ISBN - 10:041530850X

ISBN - 13:9780415308502

Look for similar items by category:


Editorial Reviews

'A classic text by one of the great pioneers of feminist criticism and art history' - Linda Nochlin, New York University, USA

'A vital text for understnading the polemics of feminist art history, and its methods in practice' - Anthea Callen, University of Nottingham, UK