PRINT April 1986


the return of an endangered species—the artist's model.

IN 1907, IN THE New York Herald, a woman named Charlotte Eaton wrote, “I was hopelessly lonely and forlorn—yea, worse. I was hungry, unable to get anything to do because of inexperience, and at the end of my tether. So one day—it came to me like a flash! An artists' model! Why not? I knew myself in possession of a strong and shapely physique, and that gave me courage” Has a familiar ring, wouldn't you say? Probably just how Veruschka felt. Ditto those guys body-snatched by Bruce Weber, one by one, from lifeguard stands and water polo teams all across the country.

From the beginning, the model has needed courage. An object, he (or, more frequently in recent centuries, she) has been expected to hold a pose, follow simple directions, and keep quiet, never, under any circumstances, attempting to tell his (or her) story. From the beginning, too, the predicament of the model has been coincident

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