Monday, October 31, 2016

Blood Lust by Matti Klatt

As it is Halloween today we though that we better have a spooky themed  pictorial, so here we have Blood Lust, a lesbian Vampire set by Matti Klatt. The lesbian female vampire was first featured (in a tastefully implied way) in the novel Carmilla by the Irish writer Joseph Sheridan Le Fanu.  Published in 1872, it pre-dated Bram Stroker's Dracula.  It was the direct inspiration for Hammer Film's Karnstein trilogy: The Vampire Lovers (1970), Lust for a Vampire (1971) and Twins of Evil (1971).

This pictorial appeared in the September issue of Hustler in 1980, a bit early for Halloween,  Our innocent virgin can be found in the opening spread lying asleep in bed unaware of the approaching bat.  It being Hustler she lies in bed with her legs apart so perhaps the bat could smell her.

On arriving in the maiden's bedroom, the bat transforms into a basque wearing vampire (or succubus, to give a female vampire its correct name). Our lovely victim is surprised but not enough to close her thighs.

"Overwhelmed, the young virgin offers feeble resistance and is subdued by the hypnotic spell of her cursed female attacker." says the text.  Or perhaps it is just the musky smell of the succubus' displayed pussy.

"At once evil beautiful, frightening yet  alluring, the fullness of the dark woman's femininity awakens withing the girl sinister excitement."  So exciting, obviously that our virgin needs to take a good look to see where that smell is coming from.

"Her darker desires, burning so long deep inside her are set free by the sharp touch of her seductress".  And who wouldn't be seduced by such a busty beauty in her black basque?

"As though possessed, the virgin is engulfed by a hot-blooded passion that must be satisfied at any cost."  There are no biting sequences in this short pictorial but in the final shot our virgin sports a pair of fangs as well.  Both ladies look the part and it would have been nice to have had more pictures in this one.

Wednesday, October 26, 2016

Nymph and Satyr by Jean-Honoré Fragonard

Time for another nymph and satyr picture and this sensuous one is by Fragonard (1732-1806).  Only a handful of Fragonard's work can be dated but this no doubt comes from the time when he was a favourite of the court of Louis XV.  

Given the pipes at the left, this could be the god Pan, who was much involved in pursuing nymphs.  He has the goat legs of a satyr but not the horns or long ears sometimes depicted. He is happily indulging in some cunnilingus on his nymph who is playing the double aulos pipe.  Fragonard probably imagined a sweet flute type instrument but more modern archaeology has shown that it made an aggressive wailing noise not unlike the chanter of bagpipes.  Indeed, the ancient Spartans used them to accompany their military manoeuvres. 

Saturday, October 22, 2016

The Servant by James Baes

Time for another couples pictorial from Larry Flynt's Chic magazine, whose first issue had been five months earlier, in November 1976.  This one was shot by Hustler regular James Baes, who was Chic's Director of Photography.  Initially, Chic didn't give photographic credits but from February 1977 started to do so.

This pictorial appeared in the March 1977 issue and was their second couples pictorial after Double Exposure, which had appeared  in January of that year.

Entitled The Servant, it is a mild fetish set which, in itself, was unusual in men's magazines at the time.  There is no accompanying text to shed more light on the scenario but we assume that the lady is the 'servant' although this may just be a sexual relationship rather than one of actual employment.

This pictorial is longer than Double Exposure and had eight pictures spread over twelve pages. in the usual whole page and double page photo only style of Chic at the time.

We also have a number of outtakes which we will be mixing in with the shots as published in the magazine.  You can spot which are which as the outtakes have a slightly cooler colour cast.  Many of the photos are very similar but not all have equivalents which appeared in the magazine.

This one, for example, appears as an outtake only.  Our mysterious gloved man grips the woman's wrists and presses his shoe against her mouth.  There is quite a lot of mild domination in the set.

Here the girl is kept in place with a bullwhip, several years before Indiana Jones made them popular.  The top picture is the one that appeared in the magazine and keeps the man's face unseen, as it was throughout the printed pictorial.   Chic had only just begun to show their model's anuses (the first appearing in Double Exposure two months previously) as here. 

Here the man teases the girl's pussy with his shoe.  We can't think of another pictorial from this period which depicts this activity.  

In this unpublished shot the man appears to be about to penetrate the girl's anus with his gloved finger which is, again, a very bold pose for time.

More shoe on pussy action here.  The pictorial gains a lot by the very limited colour palette of black, flesh, blue-grey and pale yellow.  

Here she is entrammeled in his bull whip which is  being pulled up against her pussy. 

Some shoe licking in this outtake shot which, again, was an unusual fetish pose for the time.

The whip reappears as the girl is dragged in close and has her bottom fingered once more.  She has a great pair of legs!

The final shot goes in for some apparent chocing play.  This is a stylish pictorial which looks really good.  It contains some unsuual fetish elements which were ahead of its time and, at least in the printed pictorial, the absence of the man's face added to the atmosphere.

Saturday, October 15, 2016

Lovers by Octave Tassaert (1800-1874)

We have featured some of the erotic works of French painter Octave Tassaert before (here).  This one, of two lovers, probably dates from around the same time, 1860, just a few years before he stopped painting altogether, descended into alcoholism (which damaged his eyesight) and committed suicide by gassing himself (as did JW Godward). 

What is unusual about it is that it is a painting.  Most erotic art of the nineteenth century was done (often anonymously) to illustrate limited edition erotic books, so was more usually done as lithographs which could be easily reproduced.  Mainstream (rather than erotic specialists) artists who did produce erotic work tended to do so as drawings or sketches (occasionally from life, such as with Turner).  To find a fully rendered, explicit painting by a well known artist (as he was at the time) such as this, is unusual, therefore.

One of the main themes of Tassaert's paintings was the lives of the poor so it may be that our copulating couple are ordinary people rather than from high society.  Whatever, the lady's expression indicates that she is enjoying the experience.

Thursday, October 6, 2016

Nymphs and Satyrs by Théodore Géricault

A few months ago we looked at some erotic art by the French painter Théodore Géricault (1791-1824) whose erotic output only surfaced long after his death.  Today, we will look at some of his drawings and sculptures of nymphs and satyrs which were mostly produced in around 1817.

In classical Greek legend satyrs were the companions of the god Dionysus, the god of wine and fertility, amongst other things.  Although sometimes depicted with horses legs they were considered half man and half goat, with long ears and horns and usually a permanent erection.

In later Roman times the creature was transformed into the faun with the familiar goat legs. Satyrs were generally considered more aggressive than fauns and spent much of their time pursuing nymphs.

Géricault has certainly focussed on the aggressive character of satyrs, rather than the more indolent fauns, in his works.  There is none of the gentle compliance seen in other artists works in his pieces.  There is no doubt in all of his examples that the nymph has been grabbed against her will and her resulting struggles provide the animation for the artworks.

Although most of his nymphs are naked, a few appear in classical clothing so as to add an extra element of movement through the depiction of the drapery.  An outflung arm from the nymph is also used quite a bit, perhaps depicting the point of desperate surrender rather than a more aggressive resistance.

Apart from the black chalk, brown wash and white gouache painting at the top of the post, in all cases the nymph is looking away from the satyr, rejecting him completely.

Géricault also experimented with sculpture and this terracotta piece has the satyr attempting to take the nymph from behind,  In this example only the long ears and hooves indicate a satyr as the male figure has normal legs in the traditional Ancient Greek manner.  This is very different from all his other nymph and satyr pieces, so perhaps it was a last minute attempt to make the sculpture acceptable by adding classical elements to what otherwise looks like a human attempted rape.

This sculpture is the only surviving example of the artist's work in carving stone; something that no other painter of the time would even attempt, due to the difficulty of working the material. When fellow painter Delacroix saw it he said "one should need to be a madman to make it",  The nymph, looking away from her aggressor once more, has her hand pressing on the satyr's head but any resistance is futile as the satyr's hand is between his legs to, presumably, grasp his erection and thrust into the nymph.  It is a bold, modern-looking work, looking forward to Rodin and dates to about 1818.

In the near future we will look at Géricault's handling of another mythological subject and there will be more nymphs and satyrs from other artists too.