Tag Archives: artistic

I strive to evaluate every MetArt pictorial as a free-standing, individual artistic creation. If it features a model I’m particularly fond of I do my best to view it with fresh eyes. I do the same thing with new works from favored photographers. Beautiful and talented models have “off” days, and gifted creative artists sometimes make technical or aesthetic blunders.

Having said that, it is always a pleasure to view a new set by one of my preferred artists, of a model I have admired in the past, and find that it meets or exceeds my expectations. And “Mansion” absolutely does that.

By the time Yanika A made her MetArt debut (you’ll find my impressions of that set here) I was already a fan of the photographer who shot her premiere pictorial, Alex Sironi. In the second Yanika gallery I critiqued (look here), my impressions of the model were reaffirmed and I also noted a pleasing evolution in the photographer’s style.

In “Mansion” the team is reunited, and it’s an engaging and satisfying collaboration. Alex Sironi‘s set design is true to form: simple lighting and a single piece of furniture — an ornate (some might say gaudy) black sofa with silver-metallic painted ornamentation. Technically, the photography is impeccable. Detail shots, in particular, really stand out in this collection: a close shot of Yanika’s hand, thumb hooked around the waistband of her bikini, in #011; her lacquered fingers “walking” down her thigh, in #059; removing her bra to expose her right breast, in #025; a single playful hand and two splendid breasts in #078; polka dot panties around up-thrust ankles, in #021. I could easily go on.

From Yanika A‘s newly darkened hair, to her red and white bikini, to her crimson fingernails and honeyed skin, to the white, black, and silver of the set, the color scheme approaches perfection. The range of compositions and poses is also exemplary. You’ll find great pin-ups (#042 and #049). Plenty of bold and sexy attitude (#077). And much inviting sexuality — I love the splayed-legs pose in #125 as well as those “walking” fingers and the intriguing expression. And for sheer erotic impact the look on her face, and that stealthy right hand in #114 can’t be, shall we say, beat.

In her debut MetArt gallery Orvelia O is totally nude from start to finish. To her credit, she seems quite at ease in this completely exposed state. And she isn’t at all reluctant to present her most intimate attributes in a selection of revealing close-ups.

Without a costume to strip out of, variety must necessarily be achieved through a diverse selection of poses, the photographer’s choices in terms of composition, and the model’s position in and around the set. As it happens, this is a key to this particular series.

In the first shot, which I quite like, Orvelia is leaning against a stylized column of wood and metal, a bed and a softly glowing lamp occupy the background. Later, in wider shots, we see that the column marks the junction of two sliding panels that can be shut to enclose the bedroom. This may seem like a needlessly detailed description, but it is important.

The first portion of Arkisi‘s pictorial takes place outside the bedroom. While there are flattering, pleasing images among this group — #032, for example, in which Orvelia spreads out on the dark wood floor — the indirect light here isn’t exceptionally flattering. It’s a subtle defect, some might not consider it a defect at all, but when the model moves into the bedroom — either on the bed itself, or on the floor next to it — the lighting is without question far more flattering to Orvelia’s coloring.

I noticed this dramatic shift when I got to #075, and the set gains strength from there until its conclusion. “Nice light” is a term that recurs repeatedly in my notes. #087 is one lovely example (a dreamy and inviting rear view). #095 is a nicely lit headshot. In #118 Orvelia O moves closer to the table lamp which brings out the color of her hair and the beautiful details of her face. #100 is another charmer, as is #119, an expressive and unique headshot. When the light is right this debut delights.

Frequent MetArt contributing artist Luca Helios‘ design and execution of this new model debut gallery is interesting and effective. A white, high-gloss floor blends seamlessly into a bright white background. There is just one prop — a wooden cube, minus two of its sides — and it is used sparingly as a seating surface.

The first time model also receives a minimal treatment. Apart from a string of black beads, Gracy Taylor is totally nude in every image in the gallery. The only additional item she has in the way of costuming is a generous coating of shiny, shimmering, oil that slicks her body from neck to toe. Quite a dramatic and eye-catching presentation.

Gracy Taylor seems confident and self assured here — particularly in view of her complete nudity and greased condition. I wouldn’t say she is the most dramatic or expressive model, but she more than compensates for this with her complete inhibition and posing skill.

One thing that struck me about the set, early on, was the model’s seeming reluctance to smile. In image #040 I found my answer. It’s a headshot, one of the more spontaneous images here. Gracy’s eyes are averted, her head tilted forward and down, and her lips are parted just enough to reveal a row of braces. The model does an excellent job of concealing her orthodontic appliances throughout the set, but in so doing she mutes her natural expressiveness.

The lighting here, coupled with the stark, glossy white set, does a wonderful job of highlighting the contours of Gracy Taylor’s body. And the coating of oil on her skin amplifies the effect markedly. The oil also adds considerable impact to the generous assortment of explicit anatomical close-ups. Gracy Taylor is a slick piece, so to say — and “Presenting” is a slick piece of work.

I was lucky enough to have the opportunity to critique this model’s debut MetArt erotic photo gallery. “Candidat” is her sixth series, and it provides a welcome chance to revisit a promising talent, and to evaluate both her development as a model, and the accuracy of my initial observations.

Catherine A. impressed me with her eager expressiveness in her debut. That quality is still very much in evidence in “Candidat.” This model has a natural ability to project a truly impressive range of emotions and moods, and she’s a gifted and inventive poser, as well. Her ability to transform her appearance from shot to shot is almost uncanny. And I’m talking about something far more complex and subtle than simply putting her hair up, or letting it hang free to achieve different looks (she does both here, by the way). Compare #005, for example, with #021 — two almost eerily different looks.

Catherine A. can be composed, formal, and deliver highly stylized poses. And she can be unpredictable, spontaneous, and entirely natural. Photographer Dolce — the creator of all of Catherine’s MetArt pictorials — manages to capture her many moods and attitudes quite adeptly. The photographer does have a weakness for tilted compositions, however, and the off-kilter images here seem an unnecessary distraction. Images #097 and #098 provide instructive examples. Catherine’s pose is unusual and extremely interesting (as is her facial expression) in both shots. The first is tilted, creating a queasy feeling that the model is at risk of sliding out of the frame. In the second image, now on the level, the pose and composition achieve something approaching perfection.

I like the simple set design here. The rich color and texture of the walls, the dark planks of the hardwood floor, and a single potted plant provide interest without distracting detail. And the upholstered armchair makes a versatile platform for Catherine A.’s creative posing. Two favorites illustrate my point: #036 seems destined to decorate many desktops with its particularly effective composition. And in #041 Catherine gracefully forms a bridge between the arms of the chair with her beautiful body. This “Candidat” easily earns my most enthusiastic vote.

When MetArt was launched in 1999 there was nothing quite like it — the site created and defined an entirely new form of online erotica. Although MetArt inspired dozens of imitators, it has remained the undisputed leader in artistic photo erotica by constantly adding fresh, new models, new photographers, and hundreds of exquisite new images on a daily basis. And the creators of MetArt are committed to maintaining the site’s quality and standing as the biggest and best erotic photography site in the world.

Now I’m pleased to announce that the creative team at MetArt has developed an entirely new online experience. It’s called SexArt, and it is unlike any adult entertainment Web site you have ever seen.

Because SexArt is the first site of its kind there’s nothing to compare it to. And because it’s brand new I haven’t fully experienced everything it has to offer — nobody has, in fact! But I have had a chance to look “behind the curtain,” and what I’ve seen is extremely impressive.

As you well know, MetArt’s signature specialty is exquisite erotic photographs of fresh and natural women and girls. SexArt takes MetArt’s sensibility and applies it to the entire range of erotic entertainment. Full length, big budget adult movies (directed by the likes of legendary filmmakers like Zalman King) are just one part of SexArt’s programming. The site also offers sexual reality shows, erotic documentary films, as well as episodic erotic original series — and explicit photo sets, as well. And all of this content is of the highest quality and was created for and available only from SexArt.

Just as SexArt goes beyond still photography, it also goes beyond soft-core. SexArt offers sophisticated, completely uncensored, hard-core erotica. But one thing SexArt most definitely does not offer is cookie-cutter X-rated fare. The widely varied offerings on the site all combine sex with art in unique and entirely new ways. And SexArt is designed to appeal to everyone who enjoys erotic entertainment — SexArt will appeal to women, to men, to couples, to adventurous singles, to anybody who appreciates the beauty, power, passion, and limitless pleasure of eroticism, sensuality, art, and completely uninhibited sexuality.

When it was launched MetArt changed the world of photographic erotica forever. Now SexArt is poised to do the same for filmed erotic entertainment.

First MetArt. Now SexArt. The future of erotic entertainment starts now!

A wall bathed in blue light in the background and a bed dressed in earth tones in the foreground are the primary decorative elements in Kristina J.’s first MetArt erotic pictorial. The model is an interesting decorative element in her own right, and the more I looked at her work here, the more I liked both it and her.

Slender and shapely, with long dark hair, Kristina J. is wearing a sheer pink nightie as the set begins. The filmy, frilly garment leaves nothing to the imagination, but it does add a bit of pleasing color and a flirtatious flavor to the initial photos. By image #028, with the neck pulled down to reveal her pert and petite bosom, the model is definitely winning me over. In #035, the lower half of her face masked by the pink fabric, I find the look in her dark blue eyes (and the composition and framing of the photograph) quite delightful.

Frequent MetArt contributing photographer Alex Sironi takes care to capture this new model in a variety of poses. Two headshots — #052 and #111 — feature two different aspects of the model, while also demonstrating the artist’s compositional skill. In the first, lying on her side, her raised right forearm is balanced by a bedpost in the background, while Kristina’s smile and creamy complexion fairly glows in the foreground. In the second image, the frame is much tighter, the mood more reflective — a different but certainly beautiful shot.

The variety of moods and photographic styles extends to explicit shots and intimate close-ups, as well. The ripe delights of the model’s rump and other fleshy assets make #091 particularly memorable. I love the way Kristina’s face is framed by her bent leg in another bold exposure, #057. And #061 offers an interesting pose and a confidently stylish photo that cleverly and most effectively captures Kristina J.’s physical attributes as well as her intriguing personality.

“Cordella” is interesting and unusual for several reasons. For one, it is the model’s first appearance at MetArt. This isn’t actually unusual — new models are added to the site on a near-daily basis. It is unusual, if not unprecedented, for a model’s debut to occur in a MetArt HD erotic movie, however.

It is also notable for being the first Slastyonoff-directed movie I’ve had the opportunity to review. The artist’s MetArt portfolio is truly massive — it numbers 515 galleries at the moment — but a relatively small number of those are films.

Finally, the entire concept and execution of this production is unlike any that I’ve yet critiqued. It is not a video recording of a still photo shoot, so we need not revisit that tiresome conversation. But it doesn’t attempt to create a narrative or tell a story, either. “Cordella” through simplicity, artistry, creativity, and energy is a unique erotic motion picture, with extra emphasis on all three elements.

We pan up a figure wrapped in a cobalt blue satin sheet. The sheet is parted, mimicking the curtains in a theater, and Ganna B.’s completely nude body is revealed. The camera pans back down, and the motion begins — the screen will be filled with near constant motion until the film’s end.

Think of this as a combination of nude figure posing and modern dance. Ganna moves her body creatively, easily, gracefully, and constantly. And she makes fine use of her single prop, turning that shimmering sheet of blue fabric into a tactile, physical, dynamic, and kinetic dance partner.

While the performance has a fluid, spontaneous feeling, it is also completely free of repetition. There is a varied pace, and an involving tempo to the model’s movements. And there is s similar variety in the cinematic framing and style. The use of slow motion is a particularly pleasing enhancement, as well.

And all this creativity — both physical and technical — doesn’t obscure the explicit and erotic aspects. Indeed, the various elements combine in balanced harmony to yield a fine piece of vigorous and engaging erotic artistry.

This set falls somewhere outside the conventional bounds of what I’ve come to expect from MetArt. But just because I find it atypical doesn’t mean I disapprove — in fact, quite the opposite is true. “Chamber” is a tour de force performance by a truly impressive model and a gifted and versatile photographic stylist.

“Chamber” is a lush, dramatic, highly stylized, and extremely stylish creation. Leonardo’s use of light and shadow is simply masterful, and the series contains many images fairly dripping with genuine film noir flavor. But as impressive as the photography, art direction, lighting, and costuming are, they would be wasted on a less talented model. Ulya I., a voluptuous, cream-skinned, scarlet-haired seductress, throws herself into the theatrical spirit of the pictorial and delivers an award-worthy performance. This is a true collaboration, one of those wonderful combinations in which the artistic whole is greater than the sum of its parts.

The opening image sets the stage but only hints at what is yet to come. Ulya is seated on an ornately carved and upholstered chair in the center of a richly appointed room — “Chamber” really is the better word to describe this space with its patterned parquet floor, tiled fireplace, and lux finishes. Hands on the arms of the chair, feet and knees together, Ulya regards the camera with a composed but subtly mysterious look on her face. This model has a lot of attitude — and she knows how to use it!

And Leonardo knows just how to emphasized and capture Ulya’s moody beauty. In #082, for example, he hides the lower half of her face in shadow and lets her eyes work their considerable magic. But an expressive face is just one of Ulya’s gifts — her voluptuous body is no less dramatic. #103, with its stark, almost flood-lit treatment, captures that glorious shape most effectively.

There are far too many striking images to list in detail, but here are some favorites. Totally nude, but for shoes and jewelry, straddling an arm of her chair in #110. #067, seated, legs spread wide, topless. #131, a style-soaked silhouette. #137, a beautifully abstract headshot. And #106, looking down at us, and #116, looking up — both shots with bundles of attitude.

“Chamber” is splendid, and both model and artist are to be commended!

There may be, somewhere, somebody who doesn’t find Jenya D. at all attractive. I don’t think it’s highly likely, but I recognize the possibility. Should such a person exist, while I understand that differences in taste and aesthetic preferences are entirely individual and personal, I extend my deepest sympathies.

To her legions of admirers, Jenya D. is nothing less than a legendary beauty. Highly prolific — as I write, she has 110 pictorials and films in her MetArt portfolio — and exceptionally talented, Jenya’s bombshell beauty and multidimensional on-camera personality place her in the erotic modeling elite.

In “Cover” Jenya has a fine showcase. The set has, shall we say, certain “issues,” but one of these are due to any weakness or failing of the model. On the whole, this is a very beautifully designed and executed set. Lens-master Leonardo gets nearly everything right with his lighting and set decoration, a study in bright white. He does, however, get a bit carried away with diffusion added at the image editing stage and some absolutely beautiful images are compromised by the heavy-handed application of digital Vaseline — see shots #004, #050, and #069.

Delete the over-manipulated photos and you’re left with a more than ample collection of superior erotic artistry. “Cover” also provides Jenya with the opportunity to express a wide range of moods and emotions. The prevailing sentiment here is steamy, sultry sexuality. When this model turns up the heat one can’t help but feel it — Jenya projects smoldering desire with an ease that (I hope!) implies that it’s her default state, on the photo set and off.

But, adding to the richness and rewards of “Cover,” Jenya D. also has a spontaneous, carefree, even zany side that is on prominent display in the group of images beginning with #077 through #085. The smiling and clowning around in those pictures is as engaging as her sexiest super-vixen poses. I hope you will forgive me when I say that Jenya D. is a impressively well-rounded model.

Rules, as you have doubtless heard, are made to be broken. That’s certainly true in the case of this MetArt erotic photo series. Several rules that I frequently employ while judging pictorials are broken during the course of “Paravan,” with quite entertaining and impressive results.

I’ve given photographer Erik Latika demerits in the past for his set design and choice of props. The model’s costume here, sheer thigh-high stockings, sheer black panties trimmed with a bit of coral colored net, and a pair of elbow length lace gloves in similar, but not matching, shade is curious, but here it works. The set is busy, as well. The central prop is an ornately carved wooden privacy screen, there are mirrored closet doors, what appears to be a tutu sits on a bed in the deep background, and the sharp, parallel lines of the hardwood flooring add additional visual complexity. To top things off, Latika freely indulges in off-angle tilts creating a woozy, eye-assaulting visual confusion. But, in this context, and with this model, the results are undeniably pleasing.

Ah, yes, the model. This is my experience with Alisa G., and I’m impressed. Perhaps rising to the challenge presented by the slightly odd style of the set, she embraces it fully and delivers a rich and varied modeling performance. She’s playful, serious, experimental, thoughtful, flirtatious, and steamily sensuous. She even makes a shot like #096, certainly a quirky pose (one might call it a contortion), interesting and intriguing.

Alisa G. is gifted with a natural, easy allure. And even when she’s not trying hard she projects genuine sex appeal. In #028, for example, that subtle smile and the look in her eyes send an unmistakable message. When she just goes with the moment and expresses her amusement — as she does in #030 — one can’t help but share it.

This beautiful and versatile model and her creative photographer prove that breaking the rules can sometimes be extremely rewarding.