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Like many other academic disciplines, art history as a scholarly specialty developed in an exclusionary elite European context. It is therefore unsurprising that many academic disciplines—with art history no exception—have supported the maintenance of class distinctions and hierarchies.
Traditional art history survey courses have favored a relatively small group of European and U. Even while art history as a discipline and textbooks like this one work to correct course with a global and non-eurocentric approach, art history in the popular imagination looks very European—and very White. Many famous European artworks did not explicitly promote racism or a racial ideology when first created, but over time have accrued new meanings and functions.
The idea of Whiteness was solidified a couple of centuries after the Mona Lisa was painted, as Europe created a unified racial identity to contrast themselves against other peoples. Not only could artwork project cultural and racial ideologies, some objects originally unconnected to that ideology could be pressed into service as representatives of cultural ideals.
As a symbol of elevated art and culture, the Mona Lisa also carries with it the idea that all Europeans are unified in Whiteness. Faith Ringgold, Dancing at the Louvre , , acrylic on canvas, tie-dyed, pieced fabric border, Contemporary artists, especially artists of color, engage with this tradition in ways that question the centering of Whiteness.
