Erotic Art ReviewbyCal Y. Pygia©
In art, immorality cannot exist. Art is always sacred. -- August Rodin.
Some art, while it may not be better than other art, is more interesting--and more entertaining--that's for sure. It may also be instructive at times, but erotic art, if ever there was a form of art that deserves the term, is, first and foremost, exemplary of art for art's sake, providing, as it so often does, sex for sex's sake. It has no other defense than its own existence--and needs none. This essay reviews works of some of the masters--and mistresses--of the genre, considering both illustrations and paintings. The artists named herein are veritable treasure troves of erotica that is guaranteed to wet one's pussy or harden one's cock. Isn't that what erotic art's all about, when all is said and done?
Paul's paintings are realistic, depicting tall, thin women with smallish bosoms. The men--and, sometimes, satyrs--are of average build, their erections being only a little larger, usually, than average size. Most of his couples are heterosexual, but there are a few homosexual couples, too, all of whom, regardless of sex and gender, typically fuck amid the splendors of ancient Egyptian, Grecian, or Roman palaces, sometimes while a servant or another party observes, either with interest or indifferently.
Paul depicts both vaginal and anal intercourse in a matter-of-fact way, and, occasionally, he includes cunnilingus and fellatio, flagellation, or lesbian activities. Group sex is also featured, rather frequently, usually between two women and a man, but also between a woman and two men.
Paul's men are as lithe and smooth as his women, and their buttocks, although firmer and more compact than those of his female figures, are splendid and arousing to the eye. Although his figures seem to enjoy themselves, they do so in a quiet, way, and in as dignified a manner as such behavior allows, always without shame. Indeed, they sometimes look a bit bored and jaded. Those who are not occupied with a partner may masturbate or not; if they do, they do so with the same attitude and in the same manner as those who fornicate before them.
Marquis Franz von Bayros
Franz's style is delicate and understated, despite its great attention to detail, both of foreground and background elements. Executing his drawings in pen and ink, with an occasional assist from the brush, he illustrates upper class men and women engaged in the favorite pastime of all classes.
His women typically wear elaborate hairstyles, large hats, and gorgeous gowns, replete with ruffles and lace, over full petticoats, sometimes with their breasts bared in full display. The women wear silk or satin slippers.
Franz's world is full of beauty and elegance, with large vases, full of flowers; musical instruments; well-stocked vanities; and fountains as frequent furnishings. Franz pays attention to every detail; one can count each of the hundreds of leaves on a single tree, see every petal on every rose--and every minute thorn on every stem--just as one can all but feel the folds and pleats and creases in his ladies' gowns and underwear. Because of Franz's devotion to particulars, the viewer is ever in danger of missing the erotic bauble or knickknack tucked away, as it were, in a niche or carved into a panel or the side or base of a fountain. The curios and other ornaments that decorate tabletops and shelves often feature a sexual display of some sort or a set of male or female genitals. Penises, winged, with legs, on rings, or flanked by labia, decorate many of his palaces and apartments, enriching the beauty and the magnificence of the artist's work.
Female masturbation is a frequent motif in Franz's drawings, but his illustrations also depict bestiality, lesbian lovemaking, sexual training sessions, and other themes that outraged the public of his day, leading to his exile from his native Germany in 1911.
Paul Emile Becat
Paul's style is deceptively simple, making much of simple lines. His figures are neither willowy nor thin; they are of the same sort of nearly skeletal emaciation that is currently popular both in Hollywood and on fashion runways, his female figures, always tending toward boyishness of frame, with small breasts, rather more angular than curvaceous. Nevertheless, Paul's women are sexy--somehow--both to the males whom he draws and to the viewer, who cannot help but to be enchanted by his fairy-like women. Although sex per se is often absent from his work, situations suggest that it either has already occurred or will follow soon upon the depicted scene.
There is a classic look to Antoine's drawings. His figures are neither slight nor large, being more or less of average height and weight, with the women wide of hip and fundament, but small of breast. The men tend to have rather feminine faces, and their hair is often curly, although some are bearded. Their bodies are firm, without being unduly muscular, and their penises are longer, if not thicker, than average. Sex tends to be vaginal.
Occasionally, positions are unusual, to say the least. In one drawing, a woman, holding a dowel that extends from wither side of the hub of a small wheel, her calves resting along her lover's chest and shoulders, with him supporting her thighs, makes of herself a wheelbarrow of sorts, more vertical than horizontal, while the male fucks her, pushing pushes her along, at the same time, that she might enjoy two rides, as it were, at once.
In another picture, a supple young woman, her back and hips resting upon a large pillow in the center of a circular rug, her knees against the fronts of her masculine lover's thighs, her calves below his upper legs, and her feet extended into space, has rolled herself into a tight ball that is only a little larger than the pillow, with only her elbows and her lower legs, bent, failing to find support. Her lover crouches over her, his cock unseen but obviously impaling her cunt as he goes about the task at hand, intent with ardor.
Such cramped positions, Antoine suggests, make sex both more compelling and more difficult. His couples often couple in the presence of an infant which may or may not be belong to both of them, thereby associating sex with procreation, a rather rare theme in most erotic art.
Agostino's women look like men. Like Michelangelo, Agostino could not paint a feminine figure; instead, he seems to castrate male personae and to append female breasts to their chests. The sexes are otherwise nearly indistinguishable, except for the women's hair, which, although not much, if any, longer than the male's, is swept up in swirls atop their heads; the women's build, which is of slightly smaller proportions than those of the males' physiques; and the women's fat-to-muscle ratios, which, in general, favor feminine fat over masculine muscle. Agostino's women's build is closest to today's female body builder than to any other contemporary feminine body type.
Nevertheless, some men find such figures attractive; apparently, the homosexual Michelangelo did, and, apparently, so did Agostino. Who knows? You may also like a little man in your woman. If so, Agostino should not disappoint. In his drawings, sex is straightforward, without any hanky panky (and, one suspects, little or no foreplay), all practical and procreative, purposefulness outweighing even the thought of playfulness.
Achille's women are fleshly, without being corpulent. Their buttocks are firm, but they are not compact; instead, they might better be characterized as being somewhat square and muscular. The breasts of Achille's women's are small, but firm, of the sort that is called to mind when one compares them to apples, and are capped with nipples the size of dainty buttons. The women sport thick pubic "beards," through which, for the purposes of cunnilingus or intercourse, the unremarkable labia may, as it were, be allowed to peek. When they are not naked, the female figures dress well, in the aristocratic fashion of their day, in velvet or satin gowns, necklaces, bracelets, knee-high stockings (which are always white), and fashionable shoes that seem snug upon their narrow feet.
They may participate with others of their sex and a single man in sexual games. In one illustration, a blindfolded man, cock erect, pursues a dame. Another lady evades him, while a third grasps for his erection. In other scenes, women are ravished by soldiers, and the women often appear to cuckold their elderly spouses. Sex, for Achille's characters, is always heterosexual in nature, but it may include cunnilingus as well as vaginal intercourse.
His men are fit and handsome, in a nondescript sort of way, and one little notices one of them unless he happens to be erect.
Born in Uruguay, Gil's illustrations are as erotic for their subject matter as they are for the modern, realistic way in which he portrays his characters. His art frequently features demons resembling men, but for the horns on their heads; long, thick tails that end in arrowhead-like structures; and unusually long, thick penises. Some paintings include odd-looking, elongated canines resembling greyhounds, but with longer necks and heads, or feline creatures with equally stretched necks and skulls. Perhaps witches' familiars or demons in animal forms, they take an interest in the demonic-human sexual shenanigans, sometimes licking an erect penis or an anus.
Most of the sex that Gil depicts is orgiastic in nature. Heterosexual activities outweigh homosexual, but all types are represented in his work. Indeed, in one picture, female figures exclusively pleasure one another, forming a giant circle, or daisy ring, in which each licks the clitoris of the next, as one of the women lies upon her back, servicing the lady who kneels before her while the kneeling woman is serviced by the another, half-sitting and half-lying woman, behind her. A male figure, cock erect and looking ecstatic, is in the center of this circle of flesh, but he neither masturbates nor is touched by the women, all of whom appear oblivious of his presence. In the complement to the lesbian group scene, another painting shows a group of men servicing one another manually, orally, and anally. No women are present; even the couple that couples in the background is male, engaged in anal intercourse.
Several of Gil's paintings and drawings include animals, as indicated. In addition to the strange dogs and cats, a snake is present (looped about the waist of a naked man, it heads into a woman's vagina), and lions appear amid orgies, as non-participants--at least at the moment that the scene was captured, as it were, for posterity's sake. The demons themselves, with snake-like tails and the horns of goats or rams, also embody some animalistic elements. The presence of these animals either directly demonstrates or suggests bestiality is also among the demonic and human participants' repertoire of sexual deviancies, adding to the pictures' general debauchery.
There are plenty other erotic artists worthy of mention, so keep an eye out for additional essays in this series.
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