Erotic Art Review Pt. 02byCal 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?
George's paintings are of women (and men) of the World War II era, and many of his works are satirical of Nazism and its dehumanization and abuses of people, Jewish and otherwise. His women wear the hair and makeup styles that were common to the time, and their pubes are hirsute, by today's standards, quite bushy and unkempt.
In one such portrait, a woman of approaching middle age, in good shape for her years, is seated upon a couch that is draped in a white sheet. Her right arm is draped over the back of the couch, and her left arm hangs along her side. Her breasts have begun to pay the toll that gravity has extracted from them over the years, so that they sag slightly, and her stomach, although not overly thick, shows that she has enjoyed many good meals in her time.
Her cunt is lost beneath a tangle of luxuriant pubic hair, and her legs are parted, as, even while she is nude, she is seated more in the manner of a man than in the fashion of a female, quite unperturbed by any concerns with false modesty. A brunette, whose hair, both above and below, is of matching hues, she wears an interesting bouffant--a sort of half-helmet, combed up in front and on either side, and her face, somewhere between handsome and beautiful, is rouged, her rather thin lips well delineated by the too-bright red that was fashionable in her day.
Another painting by the same artist shows a woman dressed--or, rather, half-dressed, in the manner of a flapper. Attired in a flapper's hat--the type that has no brim and pulls down, rather like a bathing cap, on all sides--she also wears a half slip falling to her hips; a pair of panties at half-mast, as it were, or mid-thigh; purple stockings, without garters or garter belt, that rise to just above her knees; and a pair of black pumps upon her dainty feet. A skirt is altogether missing. She half-grasps, half-caresses a gargantuan penis, fully erect, and longer than her forearm, while she looks toward the viewer, rather than at the organ that she is, presumably, about to service orally, as if she is distracted by someone else, unseen by the viewer-cum-voyeur. Perhaps another sex partner has just arrived or she is receiving instructions from someone who is, for whatever purpose, directing her activity.
The mystery of her momentary disregard for the penis she is about to fellate adds interest to an already interesting picture, which suggests George's facility for painting engaging scenes. Also interesting is the fact that the rest of the man's physique--or the rest of it that George bothers to depict--lower belly, thighs, and some portions of his calves--is only faintly represented, having been executed in a muted wash, rather than in the detail and full development with which he has executes the woman. The indistinct manner in which the man's lower body is conveyed makes him seem to be a ghostly figure whose penis alone is as real, as it were, and as concrete in its fleshliness, as the female figure.
By his employment of this technique, George focuses the viewer's attention on the same object--the man's erection--upon which the woman would normally be focused--except that she is looking away from the organ that she only half (and half-heartedly?) holds. The viewer is more aware of, and more attentive to, the rigid member than the fellatrix herself! The suggestion is that, in observing the act that is about to commence, the viewer has already more completely indulged in it him- or herself than has the painting's subject.
Another interesting painting is one which shows a young brunette of beautiful countenance, wearing nothing more than a flimsy top that she has pulled above her splendid breasts. One hand is behind her head, resting atop its dark curls, and the other arm dangles beside her. Her hips jut forward slightly, adding emphasis to the three gigantic cocks that, each erect, jut from her lower abdomen, her pubes, and below, where, had she any, her scrotum would normally appear. The top penis rears upward, the middle one is nearly horizontal, and the lower one points slightly downward.
The penises' size is reduced at every level, the top being the most gigantic and the bottom the least so, although it is still larger than average in size. The top penis is also circumcised, while the bottom one is not. The penis between these two members is also not circumcised, but its glans is half exposed inside its foreskin, unlike the glans of the bottom organ, which is entirely hidden within its prepuce.
A similar, but simpler, picture shows a beautiful woman wearing a pair of high-heeled shoes, a necklace, and a simple, but fashionable dress, which she has lifted above her hips and holds back with her hands to exhibit the erect, circumcised penis, of respectable dimensions, that juts from her groin; instead of testicles within a scrotum, the cleft of her vagina is seen between her legs. Others of George's paintings also depict similar hermaphroditic figures.
In George's paintings, sex includes vaginal intercourse; fellatio; group encounters between two women and a man; lesbian cunnilingus; masturbation; and saddled women, equipped with tails, playing the role of ponies. Nearly always, men are shown with oversize penises, the tips of which drip, on occasion, with semen.
Many of Namio's drawings are black and white, but some feature one or two items that are rendered in color. The articles that receive such treatment stand out, sometimes in a startling manner: pink robes, pink arm patches, pink or red blouses, blue tops, red sashes or ribbons, or leopard skin-patterned boots. However, they frequently have nothing to do with the sex that her work displays. Presumably, they are included to add variety to the pictures, all of which have but one theme--female dominance over men--and almost all of which feature forced cunnilingus.
Namio's females tend to be large. Always of the Caucasian persuasion, they are usually Rubenesque, or "thick," to use a term popular in today's vernacular for overweight, but well-proportioned women with good muscle tone. They have big breasts, solid abdomens, wide hips, bulky (but smooth and firm, rather than saggy or wrinkled) buttocks, and thick, powerful thighs. Their faces are typically thin in comparison to their bodies, and all of them are beautiful in a classic sense. Usually, they appear alone with a single man, but, on occasion, they may be paired, each with a man of her own.
The men in Namio's pictures are much smaller than the women, and they all perform the same function, providing oral satisfaction to the hefty heifers who are their mistresses. Whether shown from the woman's front or rear, the miniature men are typically reduced to a relatively small head, the mouth and chin of which are lost to view, between the woman's thighs or buttocks, as he services her orally. Indeed, he is reduced to being nothing more than a parasite, whose purpose is but to perform constant and continuous cunnilingus upon his host--or hostess--often while, as if to add insult to injury by dismissing his negligible importance even further, she goes about the business at hand, smoking a cigarette, applying lipstick, fanning herself, enjoying a cocktail, reading a magazine, or having her hair done by her stylist.
In some of Namio's paintings, the men are even further dismissed, one having lost his head entirely, as it were, by having inserted it to his shoulders inside his mistress' vagina! Another picture shows a small male figure seated, Indian fashion, on the floor, his back to the wall, while his mistress, a lovely whale of a woman, thrusts her formidable backside into his face, burying his nose, mouth and chin between the huge, meaty globes of her vast derriere.
In one of the more preposterous paintings--there are several which stretch the viewer's credulity beyond sustainable limits, but are erotic, nevertheless--and one of the few that does not depict face sitting per se, or cunnilingus, shows a voluptuous, good-looking brunette in a black-and-red-striped top lying astride a hammock comprised of a reed-thin, naked man whose ankles and wrists are tied to ropes, the other ends of which are secured to branches of trees which are not themselves shown in the picture. In having bound and suspended him in such a manner, she has converted him into a hammock for her use and enjoyment, and she reclines upon him as she reads a book, clasping his red face between her mighty calves. Her bulk, beautiful as it may be, is substantial, and his face shows the strain and misery of the load he bears.
Takato Yamamoto ("Jito")
Jito's art, a refinement of the Ukiyo-e Pop style, is known as Heisei Esthiticism. It combines well-executed pen-and-ink line drawings with a delicate use of water colors to create vibrant, elegant portraits of young Japanese women, who, as often as not, wear tattoos if nothing else, although they may be draped in open kimonos of skirts of lush, rich colors.
Many of Jito's paintings depict bondage themes. His women are usually tied with ropes and gagged with cloths. They may be suspended upon the ground and secured to posts or wooden stakes; frequently, they are suspended--painfully--from bamboo poles. The reason for their punishment is seldom revealed. Often, the intricate manner in which the victims are tied is itself the means of causing their pain and suffering. One woman, tattooed down her left side--shoulder, triceps, biceps, ribcage, hop, buttock, and upper thigh--with green stripes and intermittent floral bouquets, lies upon her right side, upon a coarse straw mat, a noose around her neck tied, at the other end, around the ankles of her bent legs, to prevent her from extending her lower limbs, while her arms are bent behind her back, where they are tied together, preventing her from extending her upper limbs as well. Additional rope secures her to a wooden post, preventing her from rolling anywhere and so even further restricting her movement. Only her head and neck are free. She stretches her neck, perhaps because it is the only portion of her anatomy that she can move. The features of her lovely face exhibit her misery and pain.
In another of Jito's paintings, another beautiful young Japanese woman lies flat upon her back, atop a short-legged table that has been turned upside down. Her spine is thus kept perpetually straight atop the rigid, flat surface, which provides no cushion to its vertebrae nor to her hips except that of her costume--skirts and a kimono, which are spread beneath her back and hips. Rope secures her wrists and ankles to the table's legs, keeping her arms bent at the elbows and her legs bent at the knees. Her back and neck, her upper arms, and her hips are supported by the underside of the tabletop upon which she lies, but her head and feet are draped, as it were, over the hard edges of this surface, adding to her misery. The tattoo that decorates her right side consists of black stripes interspersed with green leaves, orange blossoms, and foaming seas.
In some cases, the ropes can be tightened to increase the victim's pain and to further restrict her movement.
Some of the women are suspended from bamboo poles that run between their arms, which are pinned and tied behind their backs. Their legs may be bent at the knees and held backward by ropes, with one knee hoisted over the same poles, or their legs may be suspended from a separate set of ropes and hang independent of the poles.
One painting shows a victim bent over a thick log, over which she is tied, with her upper body and head dangling over a large wooden bucket filled with water. Her arms are folded behind her back and tied in place, and her only means of preventing herself from drowning is to keep her head aloft, for, if she relaxes the muscles in her neck for more than a few minutes, at most, with head immersed in the bucket of water, she will no longer be able to breathe. Her back and the upper portions of her splendid bottom are decorated with the tattoo of a long, serpentine dragon.
In a few of Jito's works, the women's tormentors are also shown. In one painting, a man raises the sleeve of his shirt, revealing a muscular arm, as if preparing to strike the woman who is suspended by her arms and legs to a bamboo pole. The picture does not show him committing any violence upon the helpless victim. However, the suggestion that he is about to do so, and that, consequently, she is about to receive a brutal beating, seems clear enough to warrant the viewer's drawing of such an inference. In another painting, no tormentor is present, but a knife, the point of its blade stuck into the ground, within a foot or two of the head of the woman who lies bound beside the weapon, suggests that the blade may soon be used upon her in some grisly fashion; that it has not yet been so employed is clear by the absence of blood and the relatively untroubled expression on her lovely, serene countenance.
Sex, as such, seldom occurs in any of Jito's paintings; by and large, his work suggests that sex has nothing to do with the activities that are typically and traditionally associated with such sport, whether fellatio or cunnilingus, anal or vaginal intercourse, or even masturbation; instead, his paintings suggest, sex is violence, just as pain is pleasure and dominance is power.
Plenty of other erotic artists are worthy of mention, so keep an eye out for additional essays in this series.