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Women in the Picture: Women, Art and the Power of Looking
A bold reconsideration of women in art - from the ‘Old Masters’ to the posts of Instagram influencers.
A perfect pin-up, a damsel in distress, a saintly mother, a femme fatale....
Women’s identity has long been stifled by a limited set of archetypes, found everywhere in pictures from art history’s classics to advertising, while women artists have been overlooked and held back from shaping more empowering roles.
In this impassioned book, art historian Catherine McCormack asks us to look again at what these images have told us to value, opening up our most loved images - from those of Titian and Botticelli to Picasso and the Pre-Raphaelites. She also shows us how women artists - from Berthe Morisot to Beyoncé, Judy Chicago to Kara Walker - have offered us new ways of thinking about women’s identity, sexuality, race and power.
Women in the Picture gives us new ways of seeing the art of the past and the familiar images of today so that we might free women from these restrictive roles and embrace the breadth of women’s vision.
A perfect pin-up, a damsel in distress, a saintly mother, a femme fatale....
Women’s identity has long been stifled by a limited set of archetypes, found everywhere in pictures from art history’s classics to advertising, while women artists have been overlooked and held back from shaping more empowering roles.
In this impassioned book, art historian Catherine McCormack asks us to look again at what these images have told us to value, opening up our most loved images - from those of Titian and Botticelli to Picasso and the Pre-Raphaelites. She also shows us how women artists - from Berthe Morisot to Beyoncé, Judy Chicago to Kara Walker - have offered us new ways of thinking about women’s identity, sexuality, race and power.
Women in the Picture gives us new ways of seeing the art of the past and the familiar images of today so that we might free women from these restrictive roles and embrace the breadth of women’s vision.
- GenresArtFeminismNonfiction
Audible Audio
Published July 13, 2021
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Displaying 1 - 12 of 12 reviews
March 12, 2025
An excellent reexamination of classic and modern art through an intersectional feminist lens. (featuring illustrations!!)
In this book, McCormack attempts to change the narrative pushed on women over centuries of being exposed to artwork that objectifies them and puts them into a box. Each chapter dissects a different archetype of women as muses and features an antithesis to them.
My favorite chapter was the last one, called “Monstrous Women”, which looks at feminine figures who were wrongfully villainized in mythology (and real life) and used as a means to keep women in their place.
A truly great read.
(Minus one star because the language sometimes made the narrative hard to follow.)
In this book, McCormack attempts to change the narrative pushed on women over centuries of being exposed to artwork that objectifies them and puts them into a box. Each chapter dissects a different archetype of women as muses and features an antithesis to them.
My favorite chapter was the last one, called “Monstrous Women”, which looks at feminine figures who were wrongfully villainized in mythology (and real life) and used as a means to keep women in their place.
A truly great read.
(Minus one star because the language sometimes made the narrative hard to follow.)
May 16, 2026
Women's identity has long been stifled by a limited set of archetypes, found everywhere in pictures from art history's classics to advertising, while women artists have been overlooked and held back from shaping more empowering roles.
Art historian Catherine McCormack’s “Women In The Picture: Women, Art and the Power of Looking”, asks us to look again at what these images have told us to value, opening up our most loved images - from those of Titian and Botticelli to Picasso and the Pre-Raphaelites.
She looks to give us new ways of seeing the art of the past and the familiar images of today so that we might free women from these restrictive roles and embrace the breadth of women's vision.
I think this is a really brilliant introduction into feminist art history at provides a nice overview of the often sexist nature of art we consider classics, and has definitely forced me to reconsider my own readings and interpretations of paintings.
The weakest parts of the book are in McCormack’s analysis of pop culture or realms outside of the art world. The analysis here is often weak and the links to art are tenuous.
But still an insightful read that would pair well with Natalia Haynes’ “Pandora’s Jar: Women in Greek Myths”.
Art historian Catherine McCormack’s “Women In The Picture: Women, Art and the Power of Looking”, asks us to look again at what these images have told us to value, opening up our most loved images - from those of Titian and Botticelli to Picasso and the Pre-Raphaelites.
She looks to give us new ways of seeing the art of the past and the familiar images of today so that we might free women from these restrictive roles and embrace the breadth of women's vision.
I think this is a really brilliant introduction into feminist art history at provides a nice overview of the often sexist nature of art we consider classics, and has definitely forced me to reconsider my own readings and interpretations of paintings.
The weakest parts of the book are in McCormack’s analysis of pop culture or realms outside of the art world. The analysis here is often weak and the links to art are tenuous.
But still an insightful read that would pair well with Natalia Haynes’ “Pandora’s Jar: Women in Greek Myths”.
April 8, 2026
This book is an incredible introduction not only to women in the picture (as the title suggests), but in art history in general. Each chapter is interesting and McCormack is going in all kinds of depth in order to get the message across without belittling its academic nature. What I particurarly enjoyed was the interdisciplinary and nore "pop" approach (and by that I mean the writer's device to present the themes beginning from antiquity and the rennaisance all the way through the 21sr century).
My only objection (hence the 4 stars) is relative to the final chapter, about Monstrous Women. The connection between the Medusa and African women was poorly executed, echoeing modern western (american, to be precise) ideas and concepts unknown to the ancient world, such as racism (which, of course existed, though referring to it in such a way is deemed unfitting and biased when it comes to really understanding these civilizations). A similar case is found on the same chapter - this time about the Sphinx within the Oedepean myth, the context o which does not seem to be considered in McCormack's analysis.
I highly recommend reading it!
My only objection (hence the 4 stars) is relative to the final chapter, about Monstrous Women. The connection between the Medusa and African women was poorly executed, echoeing modern western (american, to be precise) ideas and concepts unknown to the ancient world, such as racism (which, of course existed, though referring to it in such a way is deemed unfitting and biased when it comes to really understanding these civilizations). A similar case is found on the same chapter - this time about the Sphinx within the Oedepean myth, the context o which does not seem to be considered in McCormack's analysis.
I highly recommend reading it!
March 19, 2026
I feel a bit conflicted about how to rate this book, so if you’re reading on Goodreads, I’ve generously rounded up to 4 stars, and 3.5 on Fable.
It took me until about the second chapter to really get into it, but once I did, I found it to be an incredibly accessible and engaging read. This is definitely a strong entry point for readers who aren’t formally educated in art history. McCormack explains ideas clearly and draws thoughtful connections without making the material feel dense or exclusionary.
That said, coming from an art history background myself, I did find that it didn’t fully scratch my brain in the way I’d hoped. Many of the ideas felt familiar, and while they were well presented, I found myself wanting a bit more depth or academic challenge.
The book does engage with important discussions around misogyny and race, which I appreciated, particularly in its consideration of how women, and specifically Black women, are represented in visual culture. However, I was also very aware that this perspective is being delivered through a white author. It left me wanting to seek out work by women from marginalised communities, especially those who can speak more directly on topics like race, police brutality, and the representation of victims in art and media. There was a moment in the book that touched on the differences in how Black female and male victims of police brutality are represented, and I found myself wishing this had been explored further, perhaps from a more lived perspective.
Another great aspects of the book was how it linked historical imagery back to modern pop culture. The idea that so much of what we see today still draws from Greek mythology and the Bible was particularly compelling, and it made me think more critically about how these narratives continue to shape visual culture in subtle but very persistent ways.
Overall, I think this is a valuable and thought provoking read, particularly for those newer to art history or feminist theory. For me, it was engaging and insightful, but not quite as intellectually challenging as I had hoped.
It took me until about the second chapter to really get into it, but once I did, I found it to be an incredibly accessible and engaging read. This is definitely a strong entry point for readers who aren’t formally educated in art history. McCormack explains ideas clearly and draws thoughtful connections without making the material feel dense or exclusionary.
That said, coming from an art history background myself, I did find that it didn’t fully scratch my brain in the way I’d hoped. Many of the ideas felt familiar, and while they were well presented, I found myself wanting a bit more depth or academic challenge.
The book does engage with important discussions around misogyny and race, which I appreciated, particularly in its consideration of how women, and specifically Black women, are represented in visual culture. However, I was also very aware that this perspective is being delivered through a white author. It left me wanting to seek out work by women from marginalised communities, especially those who can speak more directly on topics like race, police brutality, and the representation of victims in art and media. There was a moment in the book that touched on the differences in how Black female and male victims of police brutality are represented, and I found myself wishing this had been explored further, perhaps from a more lived perspective.
Another great aspects of the book was how it linked historical imagery back to modern pop culture. The idea that so much of what we see today still draws from Greek mythology and the Bible was particularly compelling, and it made me think more critically about how these narratives continue to shape visual culture in subtle but very persistent ways.
Overall, I think this is a valuable and thought provoking read, particularly for those newer to art history or feminist theory. For me, it was engaging and insightful, but not quite as intellectually challenging as I had hoped.
April 27, 2025
Catherine McCormack legt in Women in the Picture eine scharfsinnige Analyse der westlichen Kunstgeschichte und Populärkultur vor, in der sie die Darstellung von Frauen als Spiegel patriarchaler Machtstrukturen entlarvt. Mit präzisem Blick verfolgt sie die archetypischen Bilder von Venus, Madonna, Jungfrau und monströser Frau und zeigt auf, wie diese Ikonen Frauen systematisch auf Rollen der Verfügbarkeit, Reinheit oder Bedrohung reduzieren. McCormack argumentiert dabei, dass solche Bilder nicht bloß ästhetische Objekte sind, sondern aktiv gesellschaftliche Normen formen und festigen – und damit weit über den Rahmen der Kunst hinauswirken.
Besonders kritisch beleuchtet sie Werke wie Titians Vergewaltigung der Europa, das Gewalt gegen Frauen ästhetisiert und romantisiert. Solche Darstellungen, so McCormack, schreiben nicht nur historische Erzählungen fort, sondern legitimieren subtil die Objektivierung und Entrechtung von Frauen. Ihre Analyse legt offen, wie weibliche Sexualität und Fortpflanzung in der Kunstgeschichte weniger als Ausdruck weiblicher Autonomie denn als Projektionsfläche männlicher Machtfantasien inszeniert wurden. Auch die unsichtbare Arbeit der Mutterschaft wird von McCormack thematisiert – als ein zentraler, aber oft verdrängter Aspekt weiblicher Erfahrung.
Gleichzeitig verweist sie auf die Widerständigkeit zeitgenössischer Künstlerinnen, die tradierte Narrative bewusst dekonstruieren und alternative Sichtweisen auf Weiblichkeit und Identität entwickeln. Frauen erscheinen nicht mehr als passive Objekte, sondern als handelnde Subjekte mit eigener Stimme und Geschichte. Women in the Picture wird so zu einem leidenschaftlichen Plädoyer gegen die fortwährende Ästhetisierung weiblicher Unterwerfung – und zu einer Einladung, unser Sehen und Verstehen von Kunst grundlegend zu hinterfragen.
Besonders kritisch beleuchtet sie Werke wie Titians Vergewaltigung der Europa, das Gewalt gegen Frauen ästhetisiert und romantisiert. Solche Darstellungen, so McCormack, schreiben nicht nur historische Erzählungen fort, sondern legitimieren subtil die Objektivierung und Entrechtung von Frauen. Ihre Analyse legt offen, wie weibliche Sexualität und Fortpflanzung in der Kunstgeschichte weniger als Ausdruck weiblicher Autonomie denn als Projektionsfläche männlicher Machtfantasien inszeniert wurden. Auch die unsichtbare Arbeit der Mutterschaft wird von McCormack thematisiert – als ein zentraler, aber oft verdrängter Aspekt weiblicher Erfahrung.
Gleichzeitig verweist sie auf die Widerständigkeit zeitgenössischer Künstlerinnen, die tradierte Narrative bewusst dekonstruieren und alternative Sichtweisen auf Weiblichkeit und Identität entwickeln. Frauen erscheinen nicht mehr als passive Objekte, sondern als handelnde Subjekte mit eigener Stimme und Geschichte. Women in the Picture wird so zu einem leidenschaftlichen Plädoyer gegen die fortwährende Ästhetisierung weiblicher Unterwerfung – und zu einer Einladung, unser Sehen und Verstehen von Kunst grundlegend zu hinterfragen.
October 17, 2025
Oh my god I absolutely loved this book.
First of all, i might be a little biased because this is my first book that touches the topic of objectification and marginalization of women in art but this was seriously so well written.
The proper explanations, the descriptions of the pieces and the mentions of previously learned information all made this into such a easily followable text that i have nothing bad to say about it. It was amazing.
The structure, the selected pieces as examples, the connection between the ancient times, medieval ages, mythologies and the present give the reader such a wide yet perfectly relevant overview of the issue. I also loved the way the book was divided into chapters based on influential archetypes and it made me realize so many things that now seem so obvious.
Every woman, every man every artist and non artist, everybody should read this book, because what it explains shapes our society till this very day.
First of all, i might be a little biased because this is my first book that touches the topic of objectification and marginalization of women in art but this was seriously so well written.
The proper explanations, the descriptions of the pieces and the mentions of previously learned information all made this into such a easily followable text that i have nothing bad to say about it. It was amazing.
The structure, the selected pieces as examples, the connection between the ancient times, medieval ages, mythologies and the present give the reader such a wide yet perfectly relevant overview of the issue. I also loved the way the book was divided into chapters based on influential archetypes and it made me realize so many things that now seem so obvious.
Every woman, every man every artist and non artist, everybody should read this book, because what it explains shapes our society till this very day.
July 27, 2025
I want everyone in the world to read this book. I almost worry it's geared towards women when it should be the men in our lives who read this and understand how the stories and myths from the start of civilization have shaped how we view women now. Wild! She opened my eyes and my heart and it will be one of my favorite books of all time!!!
December 31, 2025
I inhaled this book.
An overview of the tropes used in classical art and how these appear today in current mediums, and how these images are still used as tools to value and devalue women.
Would absolutely recommend reading this!
An overview of the tropes used in classical art and how these appear today in current mediums, and how these images are still used as tools to value and devalue women.
Would absolutely recommend reading this!
November 19, 2025
amazing! Made me rethink my whole bachelors degree and lowkey gave me the inspiration of what kind of art history I wanna be
January 17, 2026
Oh wow! This book was phenomenal, if I could I would give it to everyone in my life
Beautifully written about how women have been misrepresented throughout art and history
Beautifully written about how women have been misrepresented throughout art and history
November 22, 2025
Women in the Picture is a deeply engaging examination of how woman has been represented, or misrepresented, throughout Western art over centuries.
What I particularly enjoyed about this book is the fact that McCormack does not simply critique but also offers alternative ways of seeing and foregrounding women artists, thinkers and subjects.
What I particularly enjoyed about this book is the fact that McCormack does not simply critique but also offers alternative ways of seeing and foregrounding women artists, thinkers and subjects.
Displaying 1 - 12 of 12 reviews