对于基于性别因素的身份的反思一直是女性主义自西方19世纪诞生以来的主题。女性主义的鼻祖西蒙·波伏娃就以她的《第二性》敏锐地揭示了在父权制体系中女性主体在社会生活、政治文化等领域长期被压制的地位以及自身情感欲望被消解的现实。早期的女权主义运动以实际行动在政治经济领域为女性自身争取与男性平等的地位而斗争。时至今日,男女平等即使没有在社会生活领域得到实际的体现,也早已被奉为冠冕堂皇的公共观念。在艺术领域,女性主义理论和创作也是始于对性别身份的批判性阐释。理论家开始关注那些在艺术史中没有“发声”的女性艺术家,如阿特米谢·简特内斯基等,以 Reflections on gender-based identity have been the subject of feminism since its birth in the 19th century. Simon Beauvoir, fellow originator of the feminist theory, with her “second nature”, has acutely revealed the fact that the female subject has been suppressed for so long in the social life, political culture and other fields in the patriarchal system and that her own emotional desires have been eliminated. The early feminist movement struggled in a pragmatic way to secure women’s equal status with men in the political economy. Even today, equality between men and women has long been regarded as sound-sounding public opinion even if it is not actually reflected in the field of social life. In the field of art, feminist theories and creations also begin with a critical interpretation of gender identity. Theorists began to pay attention to those female artists who did not “vocalize” in the history of art, such as Artemise Janetezinski and others