Since early 1970's, there have been various confrontations and doubts about a feminist approach applied in the studies of art history. Even though it, like feminism, has not been completely accepted in a patriarchal society, the academic achievements of feminist art history is indelible: It emancipates From the andocentric ideology, establishes an actual discourse on feminist art history and makes it no longer a subordinate role to the traditional male-based art history. Apart from the New Feminist Movement that inaugurated with the feminist art movement in the 70’s, the researches of feminist art history is traced back to different ages in human civilization and reconstruct the lost history of women artists. Several important topics are in discussion, including the social resources for women artists, craft as art, female esthetics and famale imagery. Besides, feminist art criticism is also discussed in this text for it, which serves both the functions of art history and art criticism, can fully reflect the development of feminist thoughts and schools. A feminist perspective cannot take place of the traditional methodology of art history. However, it can enlarge the vision for researchers to make analyses and interpretations. It also encourages one's judgmental thinking ability. In fact, most successful feminist art historians are capable of blending feminist perspectives well with traditional methodology of art history or other learning, such as deconstructionism, psychology, sociology, etc. Because of the Involvement with gender consciousness, it is difficult that feminist studies of art history win tremendous praise from the general male. Only until the myth of sexism is totally eliminated will feminist perspective of art history be universally acknowledged.