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Standing Female Nude

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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 She also writes picture books for children, and these include Underwater Farmyard (2002); Doris the Giant (2004); Moon Zoo (2005); The Tear Thief (2007); and The Princess's Blankets (2009). Barbara Rose. "Jasper Johns: The 'Tantric Details'." American Art 7 (autumn 1993), pp. 52–53, fig. 7.

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, pp. 54–55, 62, fig. 38, ill., as "Standing Nude". Jacob Bean. 100 European Drawings in The Metropolitan Museum of Art. New York, [1964?], unpaginated, no. 96, ill. I was naked this morning. A creepy way to start this article, perhaps (I was in the shower!), but think about the statement as a plain fact. There’s a good chance that you too were naked this morning, along with millions of other humans. Life is experienced via our bodies and nothing else, which places the human form at the very top of the most primordial ideas and concepts in art. 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.

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. Roberta J. M. Olson in The Armory Show at 100: Modernism and Revolution. Ed. Marilyn Satin Kushner and Kimberly Orcutt. Exh. cat., New-York Historical Society Museum & Library. New York and London, 2013, p. 308, fig. 144 (color). Additionally, the use of enjambment throughout the poem creates a sense of tension and unease. Lines flow into each other, creating a sense of urgency and discomfort. This mirrors the discomfort felt by the model as she is forced to hold uncomfortable poses for the artist’s gaze. Alfred Stieglitz. "Under Postage: [Letter] to the Art Editor." New York Times (December 24, 1939), p. 91.

Jean Jouvet, ed. Pablo Picasso, der Zeichner: Dreihundert Zeichnungen und Graphiken, 1893–1972. Zurich, 1989, p. 8, ill.

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Laura Moure Cecchini. "Baroque Futurism: Roberto Longhi, the Seventeenth ­Century, and the Avant-Garde." Art Bulletin 101 (June 2019), p. 37, fig. 3 (reproduction of Ref. Camera Work 1912).

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'). Carol Ann Duffy’s poem “Standing Female Nude” has made a significant contribution to feminist discourse. The poem explores the objectification of women in the art world and the power dynamics between the artist and the model. Duffy’s use of the first-person narrative voice of the model allows readers to empathize with her experience of being reduced to a mere object for the artist’s gaze. The poem also highlights the economic exploitation of women in the art industry, as the model is paid a meager sum for her labor while the artist profits from her image. By shedding light on these issues, Duffy’s poem challenges the patriarchal norms that have long dominated the art world and encourages a more equitable representation of women in art. The Poem’s Message and ThemesDidier 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. Overall, 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

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. 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. She is on display for everyone; from the artist who is as poor as she is and the patrons of the art world to the Queen of England. The Queen, within the speaker’s mind, “murmurs” terms of endearment at the speaker’s shape. She sees this as ridiculous, the fact that her position within an artist’s studio can re-value her to such a degree. Jakob Rosenberg. Great Draughtsmen from Pisanello to Picasso. rev. ed. (1st ed., 1959). New York, 1974, p. 165, fig. 296b. Furthermore, the poem’s cultural context is also significant. Duffy is a Scottish poet, and her work often explores themes of identity and belonging. In “Standing Female Nude,” she highlights the experiences of a foreign model who is working in a foreign country, highlighting the challenges of being an outsider in a new place.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 Nonetheless, Feminine Gospels (2002), as the title suggests, is a concentration on the female point of view. It is a celebration of female experience, and it has a strong sense of magic and fairytale discourse. However, as in traditional fairytales, there is sometimes a sense of darkness as well as joy. Birth, death and the cycles and stages of life feature strongly, including menstruation, motherhood and aging. Duffy’s beloved daughter Ella was born in 1995, and her experience of motherhood has deeply influenced her poetry (as well as inspiring her to write other works for children). Poems such as 'The Cord' and 'The Light Gatherer' rejoice in new life, while ‘Death and the Moon’ mourns those who have passed on: ‘[…] I cannot say where you are. Unreachable / by prayer, even if poems are prayers. Unseeable / in the air, even if souls are stars […]’. Carol Ann Duffy’s poem “Standing Female Nude” was written in the 1980s, a time when the feminist movement was gaining momentum and women were fighting for their rights and equality. The poem reflects the struggles of women in the art world, particularly in the field of nude modeling. During this time, women were often objectified and reduced to mere objects of male desire in art, and their voices and experiences were often ignored. New York. Museum of Modern Art. "Picasso: Forty Years of His Art," November 15, 1939–January 7, 1940, no. 92. Standing Female Nude” was the title poem of Duffy’s first collection, and can be taken as a symbolic reference to her status as a poet at the time, in that she was laying her soul bare by standing up for feminism in a male-dominated world.

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