Standing Female Nude

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Philadelphia Museum of Art. "Masterpieces of Drawing, Diamond Jubilee Exhibition," November 4, 1950–February 11, 1951, no. 115. Emily Braun in Cubism: The Leonard A. Lauder Collection. Ed. Emily Braun and Rebecca Rabinow. Exh. cat., The Metropolitan Museum of Art. New York, 2014, p. 150, no. 62, ill. p. 151 (color).

It is important for the modeling industry to recognize the harmful effects of objectification and take steps towards promoting a more inclusive and diverse representation of beauty. This can include hiring models of different body types, ages, and ethnicities, as well as promoting a healthy and positive body image. By doing so, the industry can create a more empowering and supportive environment for models, and ultimately, promote a more positive and realistic representation of beauty in society. The Role of Gender in the Poem The practicality of the model is reinforced by the start and the finish of the poem. How does it begin and end? With money. At first, the model goes, "Six hours like this for a few francs." In the final two lines, money is still the focus: "I say / Twelve francs and get my shawl." 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. Lisa M. Messinger in Picasso in The Metropolitan Museum of Art. Ed. Gary Tinterow and Susan Alyson Stein. Exh. cat., The Metropolitan Museum of Art. New York, 2010, pp. 148–51, no. 52, ill. (color). Susan Greenberg Fisher et al. Picasso and the Allure of Language. Exh. cat., Yale University Art Gallery. New Haven, 2009, p. 16, fig. 1.Museum of Modern Art, New York. "Picasso: 75th Anniversary Exhibition," May 4–September 8, 1957, unnumbered cat. (p. 39). Museum of Modern Art, New York. "Modern Drawings," February 16–May 10, 1944, unnumbered cat. (p. 43; as "Figure," lent by Alfred Stieglitz, New York). 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. Percy North. "Bringing Cubism to America: Max Weber and Pablo Picasso." American Art 14 (autumn 2000), p. 77 n. 25.

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. Helen M. Shannon in Sarah Greenough. Modern Art and America: Alfred Stieglitz and His New York Galleries. Exh. cat., National Gallery of Art. Washington, D. C., 2000, p. 176, fig. 41. The critical reception of Carol Ann Duffy’s “Standing Female Nude” has been largely positive, with many critics praising the poem’s exploration of the female body and the artist’s gaze. Some have noted the poem’s feminist themes and its critique of the objectification of women in art. However, others have criticized the poem for its graphic descriptions and its use of the female body as a metaphor for artistic creation. Despite these criticisms, “Standing Female Nude” remains a powerful and thought-provoking work that continues to resonate with readers and critics alike. The Poem’s Contribution to Feminist Discourse

John Richardson with the collaboration of Marilyn McCully. A Life of Picasso. Vol. 2, 1907–1917. New York, 1996, pp. 144, 300, 312, ill.

Percy North. Max Weber: The Cubist Decade, 1910–1920. Exh. cat., High Museum of Art. Atlanta, 1991, pp. 23–24, fig. 3 (upside down). Imai Keiko et al. Pikaso: Itsutsu no tema/ Picasso: Five Themes. Exh. cat., Pola Museum of Art, Kanagawa. Kanagawa, 2006, p. 61, fig. 4. Sarah Greenough. Alfred Stieglitz: The Key Set. The Alfred Stieglitz Collection of Photographs. Vol. 1, 1886–1922. New York, 2002, pp. xxv–xxvi, fig. 18. New York. Armory of the Sixty-ninth Regiment. "International Exhibition of Modern Art (The Armory Show)," February 17–March 15, 1913, no. 351.The speaker, through a stream-of-consciousness style narration, explains how the artist directs her “Belly nipple arse” into the “window light.” It is the artist’s goal now to take her “color” and move it to the canvas. He directs her to move right and to “be still.” The speaker attempts to reconcile her situation and how she feels about the position she is in. Bernice B. Rose, ed. Picasso, Braque, and Early Film in Cubism. Exh. cat., PaceWildenstein. New York, 2007, p. 36, ill. Objects Promised to the Museum during the Year 2012–2013." The Metropolitan Museum of Art, One Hundred Forty-third Annual Report of the Trustees for the Fiscal Year July 1, 2012, through June 30, 2013 (2013), p. 47.