Standing Female Nude

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Peter Read. Picasso et Apollinaire: Les Métamorphoses de la mémoire, 1905–1973. Paris, 1995, p. 115, ill. Joseph Low (Pepe) Karmel. "Picasso's Laboratory: The Role of his Drawings in the Development of Cubism, 1910–14." PhD diss., Institute of Fine Arts, New York University, 1993, vol. 1, p. 65; vol. 3, appendix 1, pp. 382–83, 439 n. 24; vol. 4, figs. 53, 54.

Anne Baldassari. Picasso photographe, 1901–1916. Exh. cat., Musée Picasso. Paris, 1994, pp. 119–21, figs. 90–92. New York. Armory of the Sixty-ninth Regiment. "International Exhibition of Modern Art (The Armory Show)," February 17–March 15, 1913, no. 351. New York. Museum of Modern Art. "Pablo Picasso: A Retrospective," May 22–September 16, 1980, unnumbered cat. (p. 122). New York. Armory of the Sixty-ninth Regiment. "1913 Armory Show, 50th Anniversary Exhibition," April 6–28, 1963, no. 351. Imai Keiko et al. Pikaso: Itsutsu no tema/ Picasso: Five Themes. Exh. cat., Pola Museum of Art, Kanagawa. Kanagawa, 2006, p. 61, fig. 4.

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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. Jakob Rosenberg. Great Draughtsmen from Pisanello to Picasso. Cambridge, Mass., 1959, pp. xxiv, 127, fig. 232b. New York. 291. "Exhibition of Early and Recent Drawings and Water-Colors by Pablo Picasso of Paris," March 28–April 25, 1911 (extended to May 1911), no catalogue. The tone and mood of Carol Ann Duffy’s “Standing Female Nude” are complex and multifaceted. At times, the poem is celebratory and empowering, as the speaker revels in the beauty and strength of the titular figure. However, there are also moments of vulnerability and sadness, as the model is reduced to a mere object for the artist’s gaze. The poem’s tone shifts between these two poles, creating a sense of tension and ambiguity that reflects the complex relationship between art, beauty, and power. Ultimately, the poem invites readers to consider the ways in which women’s bodies have been objectified and commodified throughout history, and to question the role of art in perpetuating these harmful stereotypes. The Poem’s Structure and Form

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, Williamstown, Mass. Lawrence Hall, Williams College. "An Exhibition of Works of Art Lent by the Alumni of Williams College," May 5–June 16, 1962, no. 97 (as "Nude," 1911, lent by William H. Alexander). Impressionist and Modern Paintings, Drawings, and Sculptures, part 1. November 7, 1995, p. 34, fig. 2 (upside down). New York. The Metropolitan Museum of Art. "Stieglitz and His Artists: Matisse to O'Keeffe," October 13, 2011–January 2, 2012, no. 27. The title of Carol Ann Duffy’s poem, “Standing Female Nude,” is significant in several ways. Firstly, it immediately sets the tone for the poem, suggesting that the subject matter will be a depiction of a woman in a vulnerable position. The use of the word “standing” also implies a sense of strength and resilience, which is juxtaposed with the vulnerability of being nude. Additionally, the use of the word “female” highlights the gendered nature of the subject matter, and the fact that women have historically been objectified and exploited in art. Overall, the title sets the stage for a powerful exploration of the beauty and vulnerability of the female form. The Setting of the PoemOverall, the structure and form of “Standing Female Nude” work together to create a powerful and impactful poem that explores the complexities of beauty and vulnerability in the context of art. The Poem’s Historical and Cultural Context Franco Russoli and Fiorella Minervino. L'opera completa di Picasso cubista. Milan, 1972, pp. 103–4, no. 331, ill. She does not see him as better than she is. In fact, her position is better than his. She has other things to sell, a reference to her body, and he cannot afford them. The best he’s ever getting is a long look at her while painting. In a moment of reconciliation, she recognizes that they are “both poor” and making money the only way they can. Jean Jouvet, ed. Pablo Picasso, der Zeichner: Dreihundert Zeichnungen und Graphiken, 1893–1972. Zurich, 1989, p. 8, ill. Carol Ann Duffy’s poem “Standing Female Nude” was first published in her 1985 collection “Selling Manhattan.” The poem is written in the voice of a model posing for an artist, and explores themes of objectification, power dynamics, and the vulnerability of the female body. Duffy is known for her feminist perspective and her ability to give voice to marginalized individuals, and “Standing Female Nude” is no exception. The poem has been widely studied and analyzed for its commentary on the art world and the treatment of women within it. The Poem’s Title and Its Significance

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. Exh. cat., Hirschl & Adler Galleries, New York. Williamstown, Mass., 1976, p. 23, no. 66, ill. p. 64. Marilyn Satin Kushner and Kimberly Orcutt, ed. The Armory Show at 100: Modernism and Revolution. Exh. cat., New-York Historical Society. New York and London, 2013, pp. 454, 467. These drawings were bought by the Royal Academy in 1864 shortly after the death of the artist, William Mulready, as the Council felt 'assured that they could not place before the Students of the Life School finer examples to guide them in their study'. The Victorian art critic F. G. Stephens suggested that this set of drawings were among the best of Mulready's 'highly characteristic' studies. Meyer Schapiro. Modern Art, 19th & 20th Centuries: Selected Papers. New York, 1978, fig. 1, opp. p. 138.

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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".

Thierry de Duve in Mondrian. Ed. Brigitte Léal. Exh. cat., Centre Georges Pompidou. Paris, 2010, p. 46, fig. 2 (color). Utica. Munson-Williams-Proctor Arts Institute. "1913 Armory Show, 50th Anniversary Exhibition," February 17–March 31, 1963, no. 351. In Carol Ann Duffy’s poem “Standing Female Nude,” the model’s relationship with the viewer is complex and multifaceted. On one hand, the model is objectified and reduced to a mere physical form for the viewer’s gaze. She is stripped of her agency and autonomy, forced to contort her body and hold still for hours on end. However, on the other hand, the model also holds a certain power over the viewer. She is the one who allows herself to be seen, who offers up her body for scrutiny and admiration. In this way, the model becomes a symbol of both vulnerability and strength, a reminder of the complicated dynamics at play in the act of looking. The Model’s Agency and Objectification Danielle Tilkin et al. New York et l'art moderne: Alfred Stieglitz et son cercle (1905–1930). Exh. cat., Musée d'Orsay. Paris, 2004, pp. 72, 168, figs. 22, 83 (Spanish ed., 2004). Isabelle Monod-Fontaine et al. Donation Louise et Michel Leiris: Collection Kahnweiler-Leiris. Exh. cat., Musée National d'Art Moderne, Centre Georges Pompidou. Paris, 1984, p. 105, ill.

Waldo Frank, Lewis Mumford, Dorothy Norman, Paul Rosenfeld, and Harold Rugg, ed. America and Alfred Stieglitz: A Collective Portrait. Rev. ed (1st ed., 1934). Millerton, N. Y., 1979, pl. 50. Isabelle Monod-Fontaine et al. Les Années cubistes: Collections du Centre Georges Pompidou, Musée National d'Art Moderne et du Musée d'Art Moderne de Lille Métropole. Exh. cat., Musée d'Art Moderne de Lille Métropole, Villeneuve d'Ascq. Paris, 1999, p. 13, ill.