Monthly Archives: December 2011

I wanted to take a moment and wish our Members, Fans and Affiliates a Happy New Year. We have come a long way in 13 years and we understand that it wouldn’t have been possible without the support of all of you collectively. MetArt has grown over this last year and we have plans to bring you never before seen content with a production value that is unheard of from any website. It’s going to be an exciting year and the MetArt team is poised and trained to bring you the most exciting erotic content in the world.

I wanted to give a special thanks to MetArt Member Rupert for the kind words he sent us today. We will continue to give you this level of service in the coming years. Thank you and Happy New Year!

To: MetArt Comments
I just wanted to say a big ‘Thank you’ to all the staff at Met-Art. First of all, everyone who keeps what is the best website in the world, bar none, working. Your technical team do a first class job of keeping the site up and running 24/7/365. Secondly, to your fantastic photographers who produce some truely memorable pictures. The overall standard of photography is exceptional. Lastly, and most importantly, to the hundreds of amazing, wonderful, fabulous girls who pose nude for the site and who give so much pleasure. Without your beauty, elegance and charm the world would be a much worse place.

So thanks again for a superb 2011. The highlights of the year were definitely new girls Alexandra D, Anita E, Elise A, Lili H, Luka B, Oliwia A, Sian A, and Stacie A. All of these girls are absolute goddesses and it would be great to see more of them. The best series of the year was undoubtedly Anita E in Kuvutia by Leonardo. This series alone was worth the annual subscription. There were also some sensational repeat appearances by the flawlessly beautiful Adelia A, Alisa G, Bettina A, Darina B, Elisa A, Evilina A, Faye C, Lily C, Niki Mey, Sabrina D, and Sandy Summers. It would be wonderful if you could publish more photos of these girls.

Please carry on your fantastic work of unveiling gorgeous girls and I’m looking forward to seeing lots of new, stunningly beautiful, girls undress for Met-Art in 2012.

–Rupert

I’ve written a lot about new MetArt models. That shouldn’t come as a surprise, as new girls are added to the site with an almost astounding frequency. And that is a very good thing, indeed.

But today I have the pleasure of reviewing a set featuring a “veteran,” a well established MetArt model. And, in the case of Lorena B., it’s immediately obvious why she has become a veteran and had such an enduring career at MetArt.

Lorena B. is beautiful. We are all entitled to our own opinions, and I don’t think there is such thing as absolute or entirely universal beauty. But Lorena B. is beautiful, and not only would I be happy to argue this point, I would be saddened to meet the man who didn’t agree with me.

And Lorena B. has an abundance of personality and an easy, extremely photogenic quality. She loves the camera, and the camera returns the favor. Koenart doesn’t do anything particularly dramatic or impressively technical in “Gulmek,” but the set is brimming with beautiful, eye-pleasing images. Which brings us back to Lorena B.

As the erotic photo series begins, Lorena B. is wearing casual street clothes. Even “dressed down,” her natural beauty and personality are on full display. A shot like #008, a fully clothed headshot, radiates bubbly, beautiful energy. I can’t resist it. And what about that cute smirk in #005? Love it. Love her.

But when she’s “working,” when she’s demonstrating her professional skills in a shot like #024, there can be no doubt. The pose is intriguing. The facial expression is genuine. The beauty is abundant.

Yes, there are wonderful close-ups of an explicit nature. And there are headshots, because that face demands them (I like #018 #027, for starters). And in a shot like #061, on all fours, the pose, the face, the hair, it’s just perfect. This is how it’s done.

It will come as a surprise only to newborns or those misbegotten souls once referred to as “simple” that someone such as I, with the lofty title and position of Professional Blogger, is not always made privy to the inner workings of the enterprise for which I toil so faithfully.

So, when I encounter a situation such as this — henceforth to be known as The Mystery of the Model’s Moniker — I must plead ignorance. When I first encountered the subject of the MetArt HD erotic movie titled “Desert Rose,” she was named “Rylee A,” and I was quite impressed by her first MetArt series. A bit later, still employing the introductory handle Rylee, I was, once more, intrigued by the model’s beauty (and her braces).

Today, having been asked to review the latest addition to the MetArt HD movie collection, this model who I have had two pleasurable encounters with, has changed her name, sort of. On the cover she’s billed as Rylee A. But in the credits, and in her spoken declarations, she’s proudly and unambiguously Rilee Marks. Wha?

“Desert Rose,” the movie, is far less confusing. True to emerging form, director Bo Llanberris includes interview footage. Those who know Rilee Marks only through her still photos will be intrigued, and perhaps even shocked, by her frank revelations. As with previous Llanberris productions, I find the interview a valuable and entertaining element. The footage of Rilee, wearing a Santa hat and white panties while posing near a fully decorated Christmas tree is another treat.

The second half of “Desert Rose” is free of chat and focuses on Rilee Marks, outdoors, in her totally nude state — and with this girl that is a particularly fine state, indeed.

All viewers should be advised: Watch “Desert Rose” all the way to the end. There is a special after-the-end-credits treat, beginning at the 7:56 mark, that no fan or admirer of Rylee A. or Rilee Marks will want to miss!

While it’s extremely easy — and extremely enjoyable — to examine and investigate every aspect of a beautiful woman’s physical body, the tangible components are not the only ingredients needed to generate attraction. A woman who would be considered beautiful strictly on her physical attributes, can be rendered ugly if she has an unappealing personality. And, conversely, a woman who is only “so-so” can raise her I.I.D. — that’s Intangible Index of Desirability, for those unfamiliar with the term — by possessing a warm and inviting personality.

There are those times, thankfully, when a woman is not only physically beautiful, but also in possession of certain enticing intangible traits. In “Confiance,” Leka C. proves to be in possession of both. She is a striking beauty, in both face and body, that is immediately obvious. But what is even more striking is the engaging confidence she projects in this MetArt erotic photo series.

Wearing a particularly sexy matching lace bra and panties set, Leka C. poses on a elegant portico. There is nothing too studied or calculated in Leonardo‘s design or execution of the set. It’s not difficult to imagine that Leka has wandered outside to enjoy the view on a beautiful summer afternoon. While the setting has a certain formality, and Leka has an undeniable elegance in her bearing, the feeling here is relaxed and enjoyable — a feeling enhanced by the model’s assured and confident appearance and performance. That confidence is very much on display in the explicit poses provided here, but it’s also present in far more demure images. In #027, for example, still “fully dressed” she shares a warm and lively smile (along with a firm, ripe rump). In #039, with her ample breasts revealed, her expression sultry, intriguing, and self-assured. And in #108, totally nude, she’s both comely and confident, a very appealing combination.

Some models — and some MetArt erotic pictorials — take a while to work their magic on me. With others, the attraction is immediate, and that is the case with this, Nichole A.’s MetArt debut. From the very first image in the series I found the model appealing, and there was also a difficult to define quality to that first image that also piqued my interest in the photographer.

Although he has contributed several photo essays to MetArt, this was my first opportunity to review Arkisi’s work, and I’m happy to say that I like it very much. In that introductory image, #001, Nichole A. is standing in a doorway. I’m not sure why, but at first I thought the image was a reflection in a full length mirror. At any rate, I was intrigued and immediately drawn into the series.

This young model has a warmth and confidence that enhances her physical beauty. And Arkisi’s lighting and technical style present her in a particularly appealing manner. The lighting is truly notable. In a shot like #015 the darkness of her hair and eyes is enhanced at the same time the smooth pale textures of her skin and lips are highlighted. In #031, a distinctly different image from the previous example, the background glows with a striking and effective yellow radiance.

Arkisi tends to favor a shallow, limited depth of field that places the emphasis exactly where he wants it, while also lending his images a soft, painterly, almost pastel quality. See #096 for one beautifully posed, composed, and lighted example. While Nichole’s breasts are petite her other feminine attributes are quite dramatic and Arkisi provides numerous explicit close-ups without sacrificing his unique artistic touch. And when I look at a shot like #020, a haunting headshot, or #077 with Nichole A.’s spontaneous smile, I have to say I’m roundly impressed.

In her debut MetArt erotic photo series , Milagres A. displays a natural beauty and an easy-going personality. And the design and technical aspects of the pictorial combine to capture these qualities with a relaxed, effortless style that is in perfect harmony with the subject.

Although she’s quite pretty, Milagres A. does have a girl-next-door quality that is a big part of her appeal. Here “next door” happens to be the balcony of a house with a commanding view of the ocean and coastline. While Antonio Clemens has chosen to minimize the views and keeps his focus on the model, he does employ the location in some very interesting ways.

Whether it was by design or accident, the set was created towards the end of the day. The setting sun appears to be the sole light source. Clemens masterfully employs the natural light to give these images a soft, informal feel. But he also captures reflected views of the glowing golden orb as it descends through scattered clouds in the windows behind the model — see #026, #036, and #050 for three examples. In other shots a flash of warm sunlight reflects off the blue metallic window frames to add a pleasing bit of color and contrast – #065 is one example, and #074 is another very pretty shot that employs the effect.

Milagres A. has a relaxed demeanor and a natural warmth that Clemens really captures here. She is not at all inhibited, and eagerly displays every inch of her body. Her physique is delicate and understated, from her petite breasts to her intimate anatomy, but not at the expense of curvaceous hips and long, shapely legs. The final shots in the series, #133 and #134 manage to showcase her mood, her beauty, her build, and a bit of the landscape in an effortlessly artful manner. A successful debut, to be sure, and I look forward to more from both model and artist.

During the long history and evolution of the cinematic art form filmmakers have developed a rich, nuanced language of symbolism with innumerable techniques for conveying information to the viewer. In this MetArt HD erotic movie the director, Leonardo, dresses his star in a pair of white panties. Printed in bold, block letters across the seat of these panties are the words: “That’s Hot.”

So much for symbolism. Those two words concisely summarize “Visita,” and also provide an apt thumbnail description of Jesika A.

If a short film can be broken down into “acts,” this one has three. In the first Jesika primps and poses in front of a mirror. Her printed panties and snug white top do much to flatter a curvy hourglass figure, and the sight of the model’s nipples straining beneath the tight fabric is a visual treat. The tone here is light and flirtatious, and Jesika’s twin pigtails underscore the girlish energy.

In the second act action moves to the living room. Sitting on a shaggy fur rug, Jesika A. uses brush and watercolors to paint in a coloring book. When she tires of painting between the lines, she turns the brush on her torso and firm, full breasts. Cleverness and cuteness ensues.

In the concluding segment the printed panties come off — and are tossed at the camera with a playful flourish at the 6:08 mark — and Jesika A. offers a series of far more revealing poses. While the mood, throughout, is light and cheerful, by the end of “Visita” I expect the many viewers will agree: That’s Hot.

This might not seem like an obvious photo opportunity. It could be a corner of a rustic tavern, perhaps one frequented by lumberjacks. There is a tall table surrounded by stools. And these furnishings are crafted of large logs, stripped of their bark, and burnished to a warm, natural glow. Somehow, with her long hair, slender build, and refined beauty, I can more easily imagine Dominika A. in a sleek, modern setting, or outdoors in a meadow or by the sea. So, there is something somewhat odd about the location, but the model’s beauty and appeal more than overcomes this disadvantage.

In fact, the log furnishings and wood paneling of the room possess a warmth that is quite flattering to Dominika’s coloring. And the model, in her high heels, floral mini-dress (or is that just a blouse standing in for a mini-dress?), and bracelets (one of which later does duty as an anklet), is nothing if not attractive, even in this incongruous setting.

This experienced and eye-pleasing MetArt model works well with photographer Luca Helios. She’s at ease here, relaxed, and her smiles are frequent and genuine.

In terms of favorites, I do like the very first image, #001, for those mile-long legs. #110, a fully nude shot, illustrates how well the texture and color of the setting flatters Dominika’s coloring. #072 is a beautiful, natural, and moody headshot. And who can resist the smile on the model’s face in #106 as she reveals her intimate architecture?

I liked Lily C. from the moment I set eyes on her debut MetArt erotic photo gallery. In my critique I used terms like “proud and confident,” and “warm and lively,” and those qualities are still amply evident in “Stagona,” the third Lily C. pictorial I’ve reviewed.

Leonardo was the photographer who crafted Lily’s debut, and that set, shot in the studio, was a deft and assured piece of erotic photo artistry. In “Stagona” he’s chosen an outdoor location and the results are, on a technical level, somewhat inconsistent. Shot at dusk and well into the night, the set is stronger when Leonardo is relying, at least partially, on natural light. After night falls the set, to my eyes, suffers. And there are shots late in the series — #117 and #118 are two representative examples — where large shadows obscure the model’s body for no discernable artistic or creative reason.

What does come across in these photos is Lily’s robust, vigorous, and powerful sexuality. This girl can look very cute, very sweet, but hers is never an innocent or sweet cuteness. Lily C. projects, without a hint of effort, a strong, physical eroticism. There is a smile on her lips and a twinkle in her pretty eyes, but her body is sending a powerful message that has very little to do with smiles and twinkles…and a whole lot to do with raw, fevered sexuality. This mix of cuteness and carnality is a major constituent of Lily’s considerable appeal.

My favorite shots in “Stagona” tend to fall in the first half of the set. There’s something particularly appealing about the soft twilight, the skin tones, Lily’s beautiful behind, and the out of focus background in #025, for example. If I can direct my gaze at her face when examining #033 I find a particularly fetching and inviting facial expression. There are numerous frank and explicit shots to choose from. And in #078 Lily C. is as cute as can be without revealing much more than her smile and attitude.

When it comes to women, you’ve got to admit that those three traits are a difficult combination to beat. At a tender and tempting eighteen years of age, Diana I. is certainly young. And while we have some latitude to determine the precise shade of her hair color, it is overwhelmingly and without question, blonde. When it comes to her nudity, and it certainly will, Diana does start out wearing a stylish pair of shoes and a particularly fetching lingerie set. So, for the sticklers among you, she isn’t totally and completely nude for the entire set.

But I don’t think that’s desirable or necessary. Some of the introductory images in this introductory series, when her shoes, bra and panties are still in place on her nubile frame, are quite pleasing. In fact, one of these non-nude shots, #024, is one of my favorites in the collection. It is such a pleasing photo that I will give it a paragraph of its own.

Image #024 is a beautiful photo of a beautiful young model. But Diana’s beauty is only one component in a sophisticated, artful composition. The more I study the image the more I’m impressed by how Luca Helios has composed it. The texture of the various surfaces, the lighting, the strong geometry of the various architectural elements – this would be an interesting shot even if the model wasn’t in it. But look how her long hair harmonizes with the vertical planes of the wall to her right. And notice how the sculpted curves of her body act as a visual bridge between the straight lines on one side, and the curved arm and spherical head of the lamp to her left.

The set is packed with an abundance of explicit images, and that is never a bad thing, in my estimation. But as is often the case, a handful of headshots have captured my attention here. There is an odd mystery to #012, for example, perhaps due to the averted eyes. And #097, with her eyes wide open (although not directed at the camera), the lighting, the model’s expression, and the texture of her blonde hair is very pleasing, indeed.