Standing Female Nude

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Alfred Stieglitz. "Under Postage: [Letter] to the Art Editor." New York Times (December 24, 1939), p. 91. Donald E. Gordon. Modern Art Exhibitions, 1900–1916: Selected Catalogue Documentation. Vol. 2, Munich, 1974, pp. 673, 699, 715. The poem comprises three free-verse stanzas of uneven length, with no rhyme scheme. The smooth flow representing stream of consciousness is achieved through enjambment, broken up by some choppy short sentences. Yve-Alain Bois et al. "The Semiology of Cubism. Discussion." Picasso and Braque: A Symposium. Ed. Lynn Zelevansky. New York, 1992, p. 212, fig. 3. The speaker realizes that he is right about her body. She speaks of her breasts as hanging “slightly low” and as the studio as a cold place. The only source of warmth, or previous source of warmth, is the tea in a cup. Within the cup, she can see “the tea-leaves” that appear in the image,

Born in Glasgow in 1955, Carol Ann Duffy was brought up in Staffordshire and studied philosophy at the University of Liverpool, where she was active in the city’s underground poetry scene in the 1970s. Her first full-length collection Standing Female Nude in 1985 was a landmark, forging an anti-establishment voice with colloquial lyricism. Duffy reached a wider audience with The World’s Wife (1999), a series of witty dramatic monologues spoken by women from fairy tales and myths, and the women usually air-brushed from history, such as Mrs Midas and Mrs Darwin. Her output has also included a large body of writing for children.

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Standing Female Nude” is a monologue “spoken” by an artist’s model in a Paris studio. Her concern is to “make a few francs” while his is to create a work of art and a reputation for himself as a great artist. She admits to being “a river whore” who sells her body in more ways than one, but the two are using each other to an equivalent extent. First stanza Gail Levin. "Konrad Cramer: Link from the German to the American Avant-Garde." Arts Magazine 56 (February 1982), p. 147, fig. 7 (upside down), calls it "Nude". Peter Read. Picasso et Apollinaire: Les Métamorphoses de la mémoire, 1905–1973. Paris, 1995, p. 115, ill. Paris. Musée National d'Art Moderne, Centre Georges Pompidou. "Paris–New York," June 1–September 19, 1977, unnumbered cat. (p. 257). Sarah Greenough, ed. My Faraway One: Selected Letters of Georgia O'Keeffe and Alfred Stieglitz. Vol. 1, 1915–1933. New Haven, Conn., 2011, pp. 94, 727.

Barbara Rose. Lee Krasner: A Retrospective. Exh. cat., Museum of Fine Arts, Houston. New York, 1983, p. 20, fig. 11, states that this drawing "had a profound effect on her [Krasner's] conception of the figure as a point of departure for abstraction". Taking a roughly chronological approach, Daniel defines the 60-odd photos on view into five “motivations” for their nakedness. We begin in the prim times of the mid-19th century, when photographs used as figure studies for painting and drawing provided an imprimatur of practicality for nudity. Despite their utilitarian nature (Nothing to see here! Just a model for art students!), a feeling of humanity and eroticism still manages to find its way into these photos, as in Frank-François-Genès Chauvassaignes’s “Female Nude in Studio,” an uncharacteristically direct portrait for the time that feels much more contemporary as a result.

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Williamstown, Mass. Williams College Museum of Art. "Second Williams College Alumni Loan Exhibition: In Celebration of the 50th Anniversary of the Williams College Museum of Art and Professor S. Lane Faison, Jr.," May 9–June 13, 1976, no. 66. Didier Ottinger in The Armory Show at 100: Modernism and Revolution. Ed. Marilyn Satin Kushner and Kimberly Orcutt. Exh. cat., New-York Historical Society. New York and London, 2013. Mulready's enthusiasm for life drawing continued unabated until his death in 1864. An entry in Richard Redgrave's diary records: ' I believe Mulready is seventy-three, and yet there he is, hard at work at the 'Life', like any young student. He is not only attending as Visitor, and drawing at the Royal Academy, but he is one of a party who meet three times a week at Ansdell's for studying from the life'. This group includes studies made both at the RA and at Ansdell's (also known as the 'Kensington Life Academy'). Rachel Mustalish in Stieglitz and His Artists: Matisse to O'Keeffe. The Alfred Stieglitz Collection in The Metropolitan Museum of Art. Ed. Lisa Mintz Messinger. Exh. cat., The Metropolitan Museum of Art. New York, 2011, pp. 56–57. Anne Baldassari. Le Miroir noir: Picasso, sources photographiques, 1900–1928. Exh. cat., Musée Picasso. Paris, 1997, pp. 90, 93–95, figs. 105, 108, 110, 111.