Thursday, April 23, 2015

Genesis: The Fall from Innocence from Hustler July 1978

Our al fresco sex theme continues with a series of paintings depicting the Fall of Adam and Eve as told in the book of Genesis.  Adam and Eve were the first couple to have outdoor sex  (well, if you are a creationist, anyway) unless,of course, they managed to build a shelter before first having a bonk.  It depends how good Adam was at DIY.  Perhaps, Eve may have been the shelter building one.  

These paintings appeared in the July 1978 issue of Hustler, surprisingly, as it was usually Penthouse which sometimes featured erotic art.  The paintings were accompanied by a piece by renowned America sexologists Drs Eberhard and Phyliss Kronhausen.  They first bought erotic art out of the realm of the private collection to the public with their exhibition The First International Exhibition of Erotic Art in Lund in Sweden in 1968, which was then transferred to Copenhagen the following year.  

Here we have Eve noticing something different about Adam under the apple tree.  "What poor, sick, twisted guilt-ridden, neurotic mind first conjured up a sexless Garden of Eden?" asked the Kronhausens in their opening sentence.  Basically, their argument goes that the Bible has been misunderstood and that the fall of man was not about the discovery of sin, manifested as sex but was about the loss of innocent enjoyment of sex "and with it the appearance of false shame where none is called for, and needless guilt where no evil has been committed."

"We are delighted with these skilfully rendered paintings, which restore innocence and fun to Paradise," they continued.  In this picture we have Adam also realising that Eve is not built like he is.

Here we have a delighted Eve appreciating Adam's erection while he rubs her pussy with his heel.  It's quite rare to have such frank erotic art as this in fully finished paintings. Most erotic art of the past consists of drawings or engravings.  Even more unusual are the number of paintings in this series which must have taken some time to complete.  These weren't something dashed off for a speculative collector or even as an exercise for the artist.   

Unfortunately, the piece gives no clue as to the paintings' origin.  The Kronhausen's date the paintings to somewhere between 1850 and 1900.  As we shall see Triple P believes them to be rather later than that.

Although the painting is competent it is certainly not of the highest quality.  The faces of the protagonists vary from picture to picture, for a start, and there might even be different hands involved in the paintings.  The style and tighter rendering in the one at the top of this post contrasts with the looser style of some of the others.  It could be, of course, that they were painted over a long period and the artist's style changed over the years.  The anatomy of the man in the picture third from top, where Eve is pointing at his penis, is much better than in some of the other paintings.   Adam's hair is shorter, too.

Here we have the moment just before Adam penetrates Eve as they are watched by a (rather small) tiger.  The Garden of Eden is full of all manner of animals with little regard to geography.  The same can be said of the place's botany with palm trees and evergreens all mixed up together.

Here Adam nibbles on Eve's nipple while he appears about to take her again.  Interestingly, none of the paintings in this first part of the series depicts actual penetration, despite Adam's rampant state.

In this painting Adam appears to be ejaculating.  Perhaps he has become overcome by Eve's charms (and her bottom in particular) before he even got started or perhaps he has withdrawn to spurt on the grassy banks.  "When Adam delved and Eve span who was then the gentleman?" asked John Ball in 1381.  Well, obviously Adam was a gentleman because, having delved into Eve, he thoughtfully came outside her.

As the sun sets over the Garden of Eden, Eve sprawls with her legs apart while a satisfied looking Adam contemplates his erection.  He looks ready to go again.  No rest for Eve tonight!

This picture is reminiscent of several paintings of the Fall as Adam and Eve realise that they have broken the rules and are about to be expelled from the Garden of Eden.  Other paintings, however, do not feature kangaroos (or are they wallabies?) or Adam sporting a throbbing erection.

The remaining pictures in the series are rather more fantastical, although obviously by the same artist or artists.  In this one, a sumptuous looking Eve gets on all fours for an excited looking goat.  In the background on the left Adam is copulating with a young doe.  Is this saying something about the human's roles and characters?

Although Adam's balls are clearly depicted his penis isn't visible and Eve's pussy is not being penetrated again.  Not so her anus, however as a friendly chimpanzee penetrates both her's and Adam's arseholes with his fingers.

In this one Adam just stands in the background while Eve' has her pussy licked by a deer.  Perhaps these picture are meant to depict Adam and Eve after the fall when their innocent enjoyment of sex has turned into something more perverted.

There is no sign of Adam in this painting.  We just have Eve tickling her clitoris with the tip of a bull's ear.  The pose in this painting is copied from an engraving by Fritz von Bayros Called Jupiter and Europa which is dated 1908, meaning that these paintings must be later than the Kronhausens maintained.  In Greek myth, Europa was abducted by Zeus in the form of a white bull.  The picture of Eve being licked by the deer is also very similar to an engraving by Bayros

Jupiter and Europa Fritz von Bayros (1908)

No Adam again, either, in this painting but that is obviously because Eve is having too much fun with her animal friends.  Here she bravely indulges in soixante-neuf with a leopard.

Here Eve has a piss while being watched by a giant snail and a crocodile.  The lack of Adam in these makes us think that, despite what the Kronhausens thought, these paintings may have nothing to do with Adam and Eve at all.

Like Andromeda on the rock here Eve is attacked by a mythical sea creature.  Well, perhaps assaulted is the wrong word as she appears quite happy to be penetrated by the sea-dragon's curiously feathered-looking penis.  Again this is in a much more polished style than some of the other paintings.

More reptilian adventures take place in this one as Eve is penetrated by the front horn of a triceratops.  Dinosaur pictures became very popular from the end of the nineteenth century with the reconstructions by Charles R Knight.

This one is populated by satyr like creatures and other strange amalgams of human and animal.  Several girls are being patently penetrated by the satyrs in this one.

The final picture recalls the work of Hieronymus Bosch.  We have a mermaid and merman copulating in the foreground but the figures in the centre right are the strangest.  A devil like man sucks his own cock and next to him a pregnant woman, with a vulva where her head should be, has penis tipped tentacles erupting from her and molesting another woman lying on a rock.

So these are a strange set of paintings of varying quality and style but they certainly feature plenty of al fresco sex.  The Kronhausens say they are painted by one anonymous artist but it seems strange that it is hard to find out any more about such a large series of paintings. Perhaps the whole set were a modern attempt in the seventies to paint nineteenth century style paintings. Maybe one of our readers knows more!

Saturday, April 18, 2015

Under a tree by Fédor Rojankovsky (1891-1970)

Al fresco sex month continues with this rather charming pen and ink and watercolour picture by Fédor Stépanovitch Rojankovsky.  Coincidentally, Agent Triple P had his sexual initiation in an identical way, also under a tree, which is, perhaps, why we like this picture so much. 

The apple picking brother and sister (left) and My cousin the lumberjack (right)

Unfortunately, we don't know the actual title of this illustration which dates from a book called Petit Carnet Champtre which was published in 1936.  The other illustrations from it in this post we do have the titles for.  There were 25 illustration in all but, sadly, we have had no luck tracking any of the others down yet.

The Tramp

If they look rather like x-rated children's book illustrations it is no surprise because Rojankovsy was most famous for his children's illustrations.  We'll look at Rojankovsky in more detail another time.

Thursday, April 16, 2015

Hymne d'Amour by Auguste Levêque.

We have featured a painting of a couple by Belgian artist Auguste Levêque (1866-1921), previously.  Painted in 1901 this large oil (1.78 x 2.33 m) is remarkably frank for the period.  Like the previous painting we posted there is something rather post-coital about it.  It was exhibited in the Triennial Exhibition in Brussels in 1903.

At last after a dismal and cold three months, it is starting to feel like summer is on the way here and we had 77 degrees yesterday. So we thought this would be a good theme for the next few weeks: Al fresco lovemaking.  More outdoor sex soon!

Friday, April 10, 2015

Pas de Deux by Earl Miller

Time for another of Penthouse's girl/girl Love Sets and here we have a particularly effective one from Earl Miller.  Regular readers will notice that we have changed the layout of The Seduction of Venus to allow for larger images, especially those in horizontal format.  We have updated all the older posts with bigger pictures (you have to do it picture by picture!) and have changed the title picture from what our zoologically challenged friend S called "the duck fucker painting" to a detail of Mars and Venus by Louis-Jean-François Lagrenée 

This pictorial appeared in the September 1977 issue of Penthouse which featured Lucia St Angelo as Pet of the Month, whose pictorial you can see on our Venus Observations site here.

 Now, although these pictorials rarely bothered with chronological consistency or continuity this pictorial actually features two quite separate set ups and costumes.  We start off, as the title suggests, with the girls in ballet clothes, which are always evocative. 

There is something about toned legs emerging from underneath a tutu which always sets Triple P off and we have had several girlfriends in the past who were both keen dancers and enjoyed attending the ballet.  One, in particular was very flexible.  

There are no actual dance poses in this so it is all obviously meant to be post training.   These days ballet dancers are recognised as very fit, strong, highly trained artistic practitioners.  Their seductive image existed from the start, however.  In the nineteenth century, when the form was still developing, ballerinas, especially in the great French theatres, were not much more than prostitutes, trying to attract the eye of a wealthy admirer who would pay for their companionship for the night, after the performance.  Indeed, the top dancers of the Paris Opera ballet would not even appear on stage until the second act as the rich young men from the Jockey Club wouldn't arrive at the theatre, to gaze upon the uncovered legs of the dancers, until the second act so they could have dinner first.  So strong was the rule that each opera had to have a ballet in the second act, that when Berliox realised his opera Les Troyans would have to be split into two, because of its length, he had to ensure there was a ballet in each second act or incur the displeasure of the audience.

Unlike in most Penthouse pictorials our ballerinas aren't named, as the text is entirely made up of passages from The Song of Bilitis by Pierre Louÿs published in 1894.  We have discussed these poems before, in a post on the art of  Suzanne Ballivet.  The extracts in Penthouse come from the second of the three parts of the work, Elegies, which looks at lesbian love.

Once they have divested each other of their clothes and ballet shoes they indulge in some quite suggestive oral action on a couple of chairs.  The dark haired girl, in this section, wears her hair in a couple of blue ribbons.

This shot isn't quite as explicit as it appears at first glance as the blonde is actually licking the inside of the dark haired girl's thigh but suggestion is everything for Penthouse at this stage.  Considering the problems they had with another Earl Miller pictorial, The Lady and the Stableboy, a few months previously, they must have been being careful in their implied cunnilingus pictures, in case they got banned in Canada again.

There is implied fingering action in this one but it also very carefully shot.  Actual girl/girl finger penetration wouldn't be shown in Penthouse until 1993.

This is the last of the ballet shots and is the only one in the pictorial  which clearly shows the girls labia.  One of several kissing shots in the pictorial.

In the other pictures in the pictorial the two girls are dressed quite differently, in lingerie, and are on a different set (or a differently dressed one).  It's nice to see them smiling!

In fact, while we think the dark haired girl is the same one from the ballet pictures we think the blonde is a quite different girl.  She has much shorter, straighter hair and different nipples.

Whoever they are, there is  a lot of nice caressing going on in what is a nicely tactile sequence.  The blonde has a lovely bottom!

This photograph is actually the only one where the girls appears full frontal ,making you wonder whether these picture might have been set shot some years before.

Another couple of nice, intimate kissing shots add to the romantic atmosphere portrayed in the poems accompanying the piece.

Thy lips descend upon my lips.  All thine unbound hair follows them like a caress after a kiss.  It glides over my left breast, it hides mine eyes from me.

Another face between the legs shot but here the blonde does appear to have her mouth at least on the dark-haired girl's pubic hair if not actually lower. 

In this final shot the dark haired girl does have her mouth snugly between the blonde's bottom cheeks.  So this is a successful girl/girl pictorial, particularly in the non-ballet pictures which give us some nicely sensual kissing and caressing.  But whether there are two, three or even four girls we are not quite sure!

Wednesday, April 8, 2015

Red Hot in Alex

One of Agent Triple P's favourite films set in World War 2 is Ice Cold in Alex (1958), an almost perfect drama set in North Africa.  Ever since we first saw this still of stars John Mills and Sylvia Syms we thought it carried a strong erotic charge and it still does.   In fact the amount of skin she is displaying here was too much for the British film censor who cut the scene so this amount of exposure does not appear in the finished film.  It just demonstrates that you can have an erotic picture without it being explicit.

Syms plays an army nurse stuck with a group of misfit troops struggling through the wartime desert in an ambulance to reach Alexandria and an "ice cold" beer.  She never looks anything less than gorgeous throughout, dressed in her uniform and usually glistening with sweat.

She can crank Triple P's handle any day

The heat was real as it was shot on location in the desert, although in Libya, not Egypt, as post Suez crisis Egypt would have been difficult for a British film crew at the time.

In the final scene of the film our heroes get their beers and the look on Sym's face is one of pure desire.  In fact it was very good acting on her part as she couldn't stand lager and they had to use the real stuff for it to look right on camera.  John Mills got through fourteen glasses of Carlsberg before they had the scene in the can.  

In the original novel, the beer is American Rheingold but the producers felt the name was too Germanic.  In reality, as Denmark was occupied by the Germans in WW2, they would not have been able to get Carlsberg in Alexandria.  More likely they would have had the local beer, which Agent Triple P used to drink in Egypt, Stella (not to be confused with Stella Artois), which Triple P's father also used to drink during his service in Egypt in WW2.