In her essay, “The Great Housewives of Art”, Sharanya Manivannan wonders why there are so few famous women painters. She questions our understanding of genius as eccentricity and also finds certain types of feminist revisionist history problematic:
All that being said, feminist revisionist history itself is dubious. It canonizes, ostensibly, with less regard for creative merit than for personal lives, associations, and the suddenly-celebrated stigma of being female. Obscure second-rate hobbyists are dug out alongside truly passionate pursuants, and a definite penchant is shown for suffering. We like, for some perverse though explicable reason, to see women as victims.
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