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Tania Anne Woloshyn

’ for view, necessitating lines be literally drawn to distinguish ‘art’ from ‘pornography’. The cover models were retouched/covered from winter 1943 (10:40). See also Shaffer, ‘On the Environmental Nude’, pp. 131–2. 103  On Sandow, see Ellery Foutch, ‘Arresting Beauty: The Perfectionist Impulse of Peale’s Butterflies, Heade

in Soaking up the rays