Donald E. Gordon. Modern Art Exhibitions, 1900–1916: Selected Catalogue Documentation. Vol. 2, Munich, 1974, pp. 673, 699, 715.

Carol Ann Duffy was born in Scotland (in 1955) but moved with her family to Stafford in the English Midlands when still a child. She knew from the age of 14 that she wanted to be a poet but she was 30 before she really “arrived” with her first major collection, “Standing Female Nude”. Since then her lively commentaries on modern life have won her a huge audience with the double result of her poems being regularly featured on school English syllabuses and the award (in 2009) of the Poet Laureateship, which she held until 2019. 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. J. Nilson Laurvik. "The Coming Cubists Explain Their Picture Puzzles." Boston Evening Transcript (April 12, 1913), part 3, p. 2, ill. 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.Brigitte Leal, Christine Piot, and Marie-Laure Bernadac. The Ultimate Picasso. New York, 2000, pp. 151, 509, fig. 332 and ill. p. 18. 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. Rachel Mustalish 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. 151.

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.

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New York. Hirschl & Adler Galleries. "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.," April 1–24, 1976, no. 66 (as "Woman with Wine Glass," 1911). 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).

Furthermore, the pressure to maintain a certain body type and look can lead to unhealthy habits such as extreme dieting and exercise, which can have long-term consequences on their health. The agency that represents the model also plays a significant role in perpetuating this objectification, as they are often more concerned with their bottom line than the well-being of their models.

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).

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).Anne Carnegie Edgerton. "Picasso's 'Nude Woman' of 1910." Burlington Magazine 122 (July 1980), pp. 498–502, fig. 52. 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. Anne Baldassari in Picasso et les maîtres. Exh. cat., Grand Palais and Musée du Louvre. Paris, 2008, p. 30, ill. Jean Jouvet, ed. Pablo Picasso, der Zeichner: Dreihundert Zeichnungen und Graphiken, 1893–1972. Zurich, 1989, p. 8, ill. Pepe Karmel et al. Picasso: Dessins et papiers collés, Céret, 1911–1913. Exh. cat., Musée d'art moderne de Céret. Céret, 1997, ill.