During the height of the feminist movement in 1971, feminist art historian Linda Nochlin published an essay titled "Why Have There Been No Great Women Artists?" in ArtNews magazine. In this short polemical essay, Nochlin delves into the reasons why there have been no great female equivalents for Michelangelo or Rembrandt and explores the possibilities behind the lack of great female artists throughout art history. Unlike most feminist intellectuals of her day, she does not conduct her arguments through typical, emotional, subjective feminist views, but rather through “historical analysis of basic intellectual questions (Nochlin 145).” attempts that fundamentally lead to inadequate answers to the question: why have there been no great female artists? For example, the first reaction to the question is to rediscover artists forgotten in the history of art such as Artemisia Gentileschi. However, Nochlin states that this attempt constitutes an inadequate answer to the question and “tacitly reinforces its negative implications (148).” Indeed, it supports the idea that the great female artist is fundamentally rare and demonstrates the natural assumption that all greatness in artistic achievement has been reserved only for male artists. Another reaction to the question is that women's work has different formal and expressive qualities that cannot be judged by men's situation and experience in the art world. So, the work itself has a different kind of greatness, the so-called feminine style, which essentially contains a feminine sensibility and experience and a feminine aesthetic. However, once again, Nochlin believes that this is an inadequate answer because there is... half of the paper... other genre paintings, Boy Bitten by a Crab, 1550, attracted attention not only to the famous biographer Renaissance Vasari. but also the Roman gentleman Cavalieri, who wrote his impressions of the painting to the important patron Cosimo de' Medici in 1562. Furthermore, a series of self-portraits in the 1550s, such as Self-portrait at the easel, ca. 1550, led Sofonisba to work at the Spanish court of King Philip II as the first court painter in 1559. Regardless of her artistic talent and international reputation, Sofonisba had never produced the complex multi-nude figure compositions essentially necessary for large-scale works . Historical painting since he had no opportunity to study nude modeling. In fact, as a virtuous female artist, she wrote on her Self-portrait of 1552 that “Sofonisba Anguissola 'virgin' of Cremona depicted by her own hand by a mirror (Fletcher).”