在艺术世界里，女人常常是模特、缪斯、妻子和母亲，而不是作为艺术家和天才出现。尤妮斯·利浦顿在《化名奥林匹亚》一书中通过考察维多琳·默兰的生平和艺术经历，揭示了长期困扰艺术界的一个问题：艺术史上为什么没有伟大的女艺术家。维多琳·默兰是爱德华·马奈名画《奥林匹亚》中的模特，同时也是一位女画家。尤妮斯·利浦顿发现艺术史上关于维多琳·默兰的记载与事实有很大出入，她试图纠正并努力追寻维多琳·默兰真实的人生轨迹。该书突出的女性主体意识反映了女性主义者试图改写艺术史的努力。%In the world of art, women are often models, muse, wives and mothers, but not artists and geniuses. In the Alias Olympia, Eunice Lipton reviewed the life and artistic experience of Victorine Meurent, who was a model employed by Edouard Manet in his famous painting Olympia and was also a paintress at the same time. Eunice found the record of Meurent in art history inaccurate and thus tried to address the inaccuracy through researching the actual life of Meurent. In between she answered the question of why there is no great female artist in the art history. The obvious intent to establish a female character as the subject of inquiry reflects the effort of a feminist who is trying to rewrite the art history.
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