Standing Nude 1913

Curator: Before us stands Manolo’s “Standing Nude,” sculpted in 1913, currently residing at the SMK in Copenhagen. It's cast in bronze. Editor: The pose feels incredibly self-conscious. The downturned gaze, the arms clasped behind her back – she almost shrinks into herself, despite being a life-size sculpture. Curator: Indeed. Considering the Modernist context, we must examine how Manolo addresses classical ideals of the female form. He deliberately simplifies, almost abstracts, the anatomical details. The smoothness, the simplification—these choices pull away from pure mimesis. Editor: Do you think this move away from hyperrealism was an act of rebellion against academic traditions, a sort of claiming of his own aesthetic vision within the evolving societal values regarding nudity and representation of the body? Curator: It resonates within broader artistic dialogues about form and representation present at the time. By emphasizing the volumetric mass, rather than focusing on surface details, the work moves closer to the Cubist aesthetic, a geometry and abstraction challenging conventional perception. Editor: True. And there is a poignant stillness in the sculpture that goes beyond mere aesthetic consideration, touching on the objectification and the often-complicated role of women in early 20th century society and its visual culture. Her restraint speaks volumes. Curator: I appreciate how your point emphasizes the importance of considering the socio-political environment. This approach illuminates how art becomes a dialogue—a visual representation of shifting perspectives and an exploration of power and gender dynamics of the time. Editor: In viewing Manolo’s bronze figure, what I initially perceived as discomfort becomes a contemplation on female presence, rendered in Modernist visual language. Curator: An enriching conversation, revealing the sculpture as both formal study and cultural artifact, reflecting shifting perspectives within our complex history of imagery.