Feminist students of art history have taken it for granted that their task is nothing other than to rewrite the history of art (Broude & Norma 1982 , 183) . The question of course is: how is it made? What does sitting involve? However, going back a bit, what led to this hypothesis, what is the underlying question that the current feminist student of art history must conquer? Women's relationships with artistic and social structures are different from those of the male artist, discovering the history of women and art is partly to explain the ways in which the history of art is written, exposing its underlying values, its assumptions, its silences and its prejudices. (Parker and Pollock 2013, 3). The works of famous feminist historical writers such as Linda Nochlin, Pollock, and Norma Broude and others have focused on the question of women in art history. This article aims to examine the literature on women in the history of art from the 19th to the 20th century. Feminist investigation into art history began in 1971 with Linda Nochlin's article “why there are no great women artists” (Peterson & Mathew 1987, 325), to answer her question she emphasizes that art is not a the free and autonomous activity of a super-gifted individual influenced by previous arts or social factors, but rather art is an integral element of the structure and is determined by specific social institutions such as art academies, patrons, patriarchal culture or creator myth divine (Peterson & Mathew 1987, 325). Nonetheless, Parker and Pollock took a fundamentally new direction compared to previous investigations, evaluating women's historical and ideological positions in relation to art (). They believed that the Victorian writers' prescription insidiously set the stage for the twentieth dis...... middle of paper ......r rather than synthesizing other relevant accounts to effectively examine feminist art history. Regardless, both agree that training and education can be considered a general factor behind the omission of female artists, as their work was not deemed significant. Finally, the greatness debate established by Linda Nochlin exemplifies the nature of the question raised among the first generation of feminist writers such as Virginia Woolf (). Accordingly, by emphasizing the primary role of institutional factors in determining artistic achievement, Nochlin challenges the myth of the great artist as one who is endowed with a mysterious and ineffable quality called genius (). However, as Norma Broude later pointed out, Nochlin did not question the authority or validity of the male-defined notion of greatness and artistic achievement. ().