 The richest historical target for feminist critiques of philosophies of art has been the concept of fine art, which refers to art that is created chiefly for aesthetic enjoyment. It includes at its core painting, music, literature, and sculpture, and it excludes crafts, popular art, and entertainment. Closely related to the concept of fine art are ideas about the creative genius of the artist, who is often conceived as possessing a unique vision expressed in art works. It was the fine art tradition of painting that art historian Linda Nochlin had in mind in 1971 when she asked her famous question, “Why have there been no great women artists?” (Nochlin 1971 [1988]). Since the modifier “fine” already contains profound implications for the gender of artists, some background regarding the older history of ideas about art and artists is first needed in order to understand the variety of answers that can be provided to that question. This inquiry also positions us to understand the media, subject matter, and styles that contemporary feminist artists and art theorists have advanced. What is more, examination of the ancient roots of philosophy of art reveals a gendered value structure that persists to this day.