Standing Female Nude

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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'). Peter Read. Picasso et Apollinaire: Les Métamorphoses de la mémoire, 1905–1973. Paris, 1995, p. 115, ill. 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.

The standing female nude has been a popular subject in art for centuries, with artists using this form to explore the beauty and vulnerability of the female body. From the classical sculptures of ancient Greece to the modern paintings of Pablo Picasso, the standing female nude has been a staple in the art world. This form allows artists to capture the grace and elegance of the female form, while also highlighting the vulnerability and fragility of the human body. Carol Ann Duffy’s poem, “Standing Female Nude,” is a powerful exploration of this theme, using vivid imagery and language to convey the beauty and complexity of the female form. Through her words, Duffy invites readers to contemplate the beauty and vulnerability of the standing female nude, and to appreciate the artistry and skill required to capture this form in all its glory. The Beauty and Vulnerability of the Model 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 FormLisa Mintz Messinger 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. 50, 56, 86, 106, 249, no. 27, ill. (color).

New York. An American Place. "Exhibition of Four Americans: Dove, Marin, O'Keeffe, Stieglitz, and Picasso," October 17–November 27, 1941, no. 16. The "bourgeoisie" is a Marxist term. It'd be interesting to analyze this poem in a Marxist framework. For example, Marxists talk about alienation. How is the model detached or separated from her body? When she sees the finished work, she says, "It does not look like me." In “Standing Female Nude” Duffy invents the persona of a ‘river whore’ — the artist’s title and subject of the painting — with a cynical outlook on the world. She questions the value of art and the motives of the artist. It also highlights the double standard. She is regarded by society as an immoral woman who sells her body, while he is regarded as a ‘genius’. New York. The Metropolitan Museum of Art. "Masterpieces of Fifty Centuries," November 14, 1970–June 1, 1971, no. 399 (as "Nude Woman"; removed on November 24,1970 for Exh. Los Angeles and tour 1970–71). Duffy’s poem “Standing Female Nude” is a masterful example of the use of imagery and metaphor to convey complex emotions and ideas. Throughout the poem, the speaker describes the model’s body in vivid detail, using metaphor to explore the themes of beauty, vulnerability, and power. For example, the line “Your skin soft as paper, pale” compares the model’s skin to a delicate material, emphasizing her fragility and the ephemeral nature of beauty. Similarly, the line “Your eyes dark large delicate” uses metaphor to suggest the model’s sensitivity and emotional depth. By using these powerful images, Duffy creates a rich and nuanced portrait of the model, one that invites the reader to contemplate the complexities of the human form and the ways in which it can be both beautiful and vulnerable. The Poem’s Tone and Mood

Imai Keiko et al. Pikaso: Itsutsu no tema/ Picasso: Five Themes. Exh. cat., Pola Museum of Art, Kanagawa. Kanagawa, 2006, p. 61, fig. 4.

John Richardson with the collaboration of Marilyn McCully. A Life of Picasso. Vol. 2, 1907–1917. New York, 1996, pp. 144, 300, 312, ill. 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. This is Duffy at her most serious - the poems are rich, beautiful and heart-rending in their exploration of the deepest recesses of human emotion, both joy and pain. These works are also her most formal - following in the tradition of Shakespeare and John Donne, Duffy’s contemporary love poems in this collection draw on the traditional sonnet and ballad forms. The last stanza of the ‘Standing Female Nude’is double the length of the previous. In the first lines, the speaker gives some hint about the artist’s identity. She says his name is “Georges,” a likely reference to Georges Barques. She knows that he has a great reputation in the country, but others think him a genius. Impressionist and Modern Paintings, Drawings, and Sculptures, part 1. November 7, 1995, p. 34, fig. 2 (upside down).

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Thierry de Duve in Mondrian. Ed. Brigitte Léal. Exh. cat., Centre Georges Pompidou. Paris, 2010, p. 46, fig. 2 (color). Gary Tinterow 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, p. 4.

The next lines set out George’s actions and describe the way the two communicate. As mentioned in the previous stanza, the studio is cold. So is Georges. “There are times,” the speaker states, in which he “stiffens for my warmth.” This line has a double meaning. He is cold to her and he reacts sexually to her body when he loses concentration on the work he’s supposed to be doing. This says something about his assumed role as a professional and about his humanity. It takes him down from the pure, unsullied pedestal of the artist.

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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. Pepe Karmel. "Appendix 2: Notes on the Dating of Works." Picasso and Braque: A Symposium. Ed. Lynn Zelevansky. New York, 1992, p. 336, as [Cadaqués or Paris, summer–autumn 1910]. New York. Museum of Modern Art. "Picasso and Braque: Pioneering Cubism," September 24, 1989–January 16, 1990, unnumbered cat. (p. 167).