Tag Archives: seductive

The time constraints imposed by the MetArt HD erotic movie format present both a challenge and an opportunity. Directors sometimes struggle to fill the short span of time, occasionally recycling footage shot over their shoulders during a still photo session. Others rely excessively on the prop closet in an effort to create visual interest. But the masters of this very specific type of film making know how to transfer the beauty of MetArt erotic still photography into the moving picture format in ways that are both surprising and satisfying.

In “Athena” the artist Koenart employs a stylish, painterly still photographer’s eye, and deftly combines it with a cinematographer’s sense of pace, atmosphere, and movement. The result is moody, evocative, engaging, and accomplished. There are moments here, still images — headshots, figure studies, explicit close-ups — that would shine in a MetArt gallery. And yet they are perfectly integrated in a smoothly flowing, seamless, lyrical visual continuum. The soundtrack was also particularly well chosen, contributing much to the flavor and pace of the production.

But Koenart, as gifted as he is, didn’t create “Athena” by himself! The artist is nothing without his muse, and here his subject, his star, is the film’s center, its subject, its reason for being. I was privileged to evaluate Diana G’s MetArt debut (also shot by Koenart) and she impressed me with her confidence, her beauty, and her lithe, limber physicality. Everything that moved me about Diana G back then is present and on display in “Athena.”

“Athena” is not flashy or theatrical. It’s quiet, moody, intriguing, and subtly involving. It is more than a collection of beautiful erotic images and it is far greater than a simple video tape of a lovely nude model. In so many ways “Athena” shows us just how beautiful a MetArt HD erotic movie can be. See it for yourself and please feel free to share your own reactions in the comments, below.

After looking at over a hundred well-crafted photographs of a totally nude woman I’ve usually drawn some conclusions about her emotions and other aspects of her personality. In “Levha” Angelique A struck me as a strong, playful, and extremely sexual woman. But it was only after reading her bio — and discovering that she is only an 18-year-old — that I realized how young she is. It certainly came as a surprise — this is no mere teenybopper! For a girl this young to project such a fully formed, completely sincere, rich, ripe, and mature sexuality is truly striking.

And I think it goes beyond Angelique A‘s glamorous appearance — her dark hair, dark eyes, and luscious lips in particular — or the ornate décor of the bedroom Arkisi shot her in. This young woman has a quality — a sultry, sexy quality — that comes from within. And is it ever a pleasure to experience!

This is only Angelique’s second MetArt erotic photo set (she’s also appeared in a MetArt HD erotic movie), and while her performance here leaves nothing to be desired, there is also certainly room for her to grow and blossom as a model. And she certainly gives Arkisi plenty to work with. The artist, as is his practice, captures his subject in a broad range of poses and delivers carefully composed detail shots along the way. Intimate, explicit close-ups are provided in generous numbers, but then so are beautiful headshots (#013, #036, and #067 are three fine examples). There’s a simplicity bordering on the poetic in #007, a detail shot of Angelique’s round ass flanked by her delicate hands as she removes her scant g-string. And there’s a confident and clever artist at work in shots like #050, with the model seated centrally on the bed and facing the camera, and #109, an explicit variation on that image, in which Angelique’s rear aspect (as well as her steamy personality) is featured. In “Levha,” beautiful, sexy Angelique A is so very young, and so very sultry — and those are two factors that make this pictorial so enjoyable!

Standing 5-foot-7, Candice Luka may not be basketball-tall, but she’s absolutely long, lean, and unquestionably lovely. And her slender build and long legs enhance the appealing impression of height. And this tall doll quickly proves, after only the briefest of delays, that she’s not at all shy. The pretty matching panties and bra she models so effectively in #001 are teased off and discarded in short order — she’s topless by #006, proudly revealing her beautiful breasts. And by #021 she’s totally nude, thighs spread, revealing all.

So, Candice Luka is neither short nor shy, but she is beautiful, seductive, and has a lively, engaging on-camera personality. This is the first MetArt erotic photo series I’ve seen her in, and it inspired me to do a little research. Candice has appeared in five total sets so far, and she hasn’t even celebrated her first anniversary on the site, so I hope we can look forward to seeing much more of her in the future. And there’s a bit of mystery here, as well — for her MetArt debut she used the name “Lennox A,” but in all her subsequent sets she’s billed as Candice Luka. A fun fact, even if the reason remains a mystery.

There are a lot of explicit shots, many of them close-ups, in this Luca Helios creation. But there’s also variety and balance to the compositions and poses. As a bonus, I think that viewers with a specific interest in female feet will find a few special standouts in “Deusa,” as well.

With so much coverage devoted to Candice Luka’s below-the-waist attributes her personality still remains front and center. This model has a warm, playful quality that makes her seem real and down-to-earth even when she’s projecting sultry eroticism. I get the feeling that she’s got a ready laugh and that a smile is never far from her luscious lips, and that gives these photos an extra bit of personality. Yes, she does a lot of “proper modeling” here, but not at the expense of her natural personality. That this beautiful, tall, and uninhibited young woman shares her body and her personality so completely in these photos makes “Deusa” delectable.

A cozy bedroom decorated in a homey, casual style provides a fitting backdrop in the MetArt erotic photo set titled “Vereint.” That’s almost surprising in view of the fact that the subject of the pictorial is a glamorous beauty who would look right at home in the most luxurious, elegant surroundings imaginable. But here Amelie B makes this humble bedroom look irresistibly inviting.

Prolific MetArt contributor Leonardo employs a somewhat subdued style here, and doesn’t rely on any dramatic lighting design. Instead he and his model tell a simple and enjoyable story in photographs.

As it begins we find Amelie B seated on the fully dressed bed. Amelie is  dressed, as well, in a cute and sexy pink bra and panties set, trimmed in white. She’s got a girlish bow in her hair, and those rich, wavy, auburn tresses frame her pleasingly angular face to perfection.

As the set unfolds the lingerie eventually comes off, but even before she’s exposed we’re treated to many enticing images. Of these clothed shots I particularly enjoyed #006 (for pure beauty), #008 (for her eyes), #018 (face and lustrous hair), and #021 (for the sexy attitude).

As Amelie B removes her lingerie, the blankets come off the bed. It’s only logical — and certainly a desirable progression — but it also contributes to the “story” in a subtle and effortless manner. When the model is totally nude and sprawling on the white bed linens she delivers several striking pin-ups — #091, with her long hair hanging off the edge of the bed and her eyes projecting a sultry invitation, is one stylish and evocative example.

While there are certainly explicit images here, as well there should be, “Vereint” lacks any true explicit close-ups. I do wish some were included, but Amelie is so beautiful and engaging that I’m willing to overlook the omission. The chance to spend time in the boudoir, even if only vicariously, with a beauty of this caliber is a chance to be savored, and this pictorial allows us ample opportunity to do exactly that!

No blogging today, but let me wish you all a happy, healthy, prosperous, and joy-filled new year. 2012 was a big year for the MetArt Network, and we have no intention of slowing down in the year(s) to come. Thank you for your continued enthusiasm, input, and support — and comments! — and I look forward to sharing the MetArt experience with you in 2013 and beyond. Cheers! — Adam

Beautiful, sexy girl! Gorgeous, creative photography! Thank you, Candy Rose and Rylsky, for giving me the opportunity to write the shortest review in the history of the MetArt blog!

I’m joking, of course. The MetArt erotic photo series “Prestol,” thanks to the beauty and talent of its star and the skill and artistry of its creator is more than worthy of close study and thoughtful examination.

My initial impressions were highly favorable, but only after I’d looked at the entire collection was I fully able to appreciate all that it has to offer. There is a lot of variety here, in terms of photographic styles, in terms of poses and compositions, and in terms of moods and emotions. “Prestol” offers a truly rich, complex experience that will hold up over time and which will reward repeat viewings — not something that can be said of every set.

This is the eighth pictorial in Candy’s MetArt portfolio, all of which were shot by Rylsky. Candy Rose is a fine physical specimen with a beautiful face and an eye-catching hairstyle consisting of straight-cut bangs that subtly recall legendary photo model Bettie Page. As enticing as she is physically, it’s Candy’s personality that’s so engaging and intriguing in these photos — this is a rich, nuanced, playful, and irresistible performance that covers the full range from demure to decadent with effortless ease. What a beautiful, sexy, and talented girl she is!

Rylsky is in top form here. The room much of the set takes place in is dark, with two different complex wallpaper patterns on adjoining walls, an ornate chair, and subtle, moody lighting. But even when things get crazy — when the chair is placed unsteadily on a bed — it all somehow works. And when the setting changes to softly diffused light and white, artificial flowers, and gauzy curtains, the mood and style is completely different yet somehow it remains a logical part of a totally satisfying whole. Rather than listing a few of my favorites I suggest you take a leisurely look at “Prestol” and pick your own. That’s no easy task with so many fine images to chose from, but it’s very enjoyable work!

I evaluated Semmi A’s very first MetArt erotic gallery. While the photographer’s approach to that set struck me as somewhat odd at the time, there was no doubt in my mind that this was a beautiful and talented model. When I had the opportunity to critique a subsequent series I was once again impressed by Semmi, but the gallery had a distinctly strange quality that was distracting, at the very least. Now I have the chance to comment on Semmi A’s debut MetArt HD erotic movie. I can’t help but wonder if it will share the curious qualities of the two sets I’ve seen.

The short answer, thankfully, is “no.” “Prokopi” was directed by Alex Iskan, who also shot the second set I mentioned, above, so I didn’t quite know what to expect. But from the moment it began I had a good feeling about this movie — and that feeling was confirmed throughout the production. Yes, the film does contain one completely inexplicable element, but it is brief, it doesn’t detract from the overall quality, and I will discuss it later in this critique.

With just over ten minutes to work with Alex Iskan doesn’t have time to waste. So, with remarkable skill and economy, he sets up the “story” of “Prokopi” very simply. Semmi A, wearing a matching bra and panties set, stands at a wall of windows and ties back the heavy curtains. The implication is that it’s morning and she’s getting ready to start her day. And this particular day is going to begin with a bit of leisurely auto-erotic pleasure, made even more pleasurable by a subtly implied act of exhibitionism.

As the title of this post suggests, “Prokopi” relies on the artful implication of things that can’t be captured on film or shown on the screen. The act of slowly stripping out of her lingerie is a beautifully lensed act of foreplay. Once she’s nude the sliding, caressing, exploring hands that Semmi sends across her flawless skin, and below her waist, do nothing less than suggest that she’s masturbating. Masturbating and enjoying every minute of it! And realize that she’s doing this on a sofa in front of windows facing out on another building. Who knows how many strangers have a view of her activities? The thought adds an undercurrent of highly charged exhibitionist/voyeuristic energy that gives the film real heat from beginning to end.

Before I run out of space let me make some points quickly and concisely. Semmi A is a physical delight. She moves with natural ease, she plays her role with skill and grace, and when she interacts with the camera (the smile at 2:42, for example) it’s entirely genuine. Alex Iskan’s lighting, art direction, concept, and camerawork are all exemplary — this is a beautiful piece of erotic film making. Oh, but what’s up with that can of whipped cream? I find it totally extraneous and totally unnecessary in this totally entertaining effort.

A relative newcomer to the MetArt talent roster — he made his first contribution to the site in September of this year — Platon Averin is also one of the few artists here who only works in video. He first came to my attention when guest blogger hipshot13 reviewed Averin’s MetArt debut, and I enjoyed the Averin creation I reviewed shortly thereafter. Even so, I find his latest effort somewhat puzzling.

There’s no question that Platon Averin has a style of his own and the technical skills to put that style on the screen. “Neired” is certainly stylish, but I wonder if it isn’t a bit too languid in its pacing and a too limited in its scope. There was the slightest hint of a story to the first Averin-directed film I saw, but there isn’t a shred of narrative or even the merest suggestion of a story here, it’s just pretty moving images of a pretty girl.

Wearing pink platform sandals and a pink knit dress, Belinda A stands in the middle of a long stretch of two lane road posing and playing seductively to the camera. A low stone wall runs along the road and she does some posing there, as well, and behind her there’s a large body of water, a lake perhaps. Bit by bit she reveals herself — she’s a tease, yes, but she doesn’t hold back on some fairly explicit views.

The dress doesn’t come completely off until around the five minute mark, and by this point Belinda A has moved down to the long, paved ramp leading to the water’s edge. Posing continues, and Belinda displays not only an appealing body but plenty of seductive charm, as well. But I still feel that something is missing, some spark of energy, a jolt of unexpected drama or suggestive mystery — just something more.

The model herself and the style and imagery of “Neired” are all pleasing and pleasant, but I have to ask if too much subtlety is a weakness and if overdone understatement is a flaw. This film isn’t at all like a hit song you can’t get out of your head, it’s more like background music for the eyes, enjoyable enough, but not particularly memorable.

As ever, I retain the right to be completely wrong in my assessment. Please feel free to share your opinions in the comments, below.

A pair of sheer white panties constitute the only bit of wardrobe in this MetArt erotic photo gallery, and a glass of wine and ice bucket holding a bottle of Champagne are the only props, but thanks to the model’s beauty and the artist’s skill, these minimal ingredients yield maximum results.

I reviewed 18-year-old Nastya K’s very first MetArt gallery, and it was a steamy and highly successful set. Catherine shot that pictorial, and I had high praise for her, as well. Rather than a natural setting, as in the debut, here we’re indoors, and “Champan” proves that the success of that first series was no fluke.

The series takes place on a sprawling, snow white duvet spread over a sofa. The back wall is subtly lit giving it a yellow/orange tint that adds interest while flattering Nastya’s coloring. From her flawless skin to the dark browns of her hair and eyes, to the vivid pink so often on view here, the model is exquisitely presented. The props also lend themselves to the pin-up genre, of which #004 and #041 are two stylish examples.

Even without its explicit images, and there are many of those, this is a very sexy set. There are several shots of Nastya K avidly sucking a finger (see #077), but I think this may be the slightest bit heavy-handed — this nubile vixen doesn’t need to resort to such theatrics to get her message across.

“Champan” is filled with beautiful images, too many to call out individually, but here are a few of my personal favorites: #066, a stylized and interesting pose that shows off her body as well as her face. #079, another creative pose, a sultry expression, and an artfully framed composition. Of the explicit shots, I like the frontal view in #073 and the bold, buns-up stance in #055. And for pure, demure, adorability, it’s difficult to top #081. In “Champan” Nastya K and Catherine have created an intoxicating work of erotic art.

The first image in this MetArt erotic photo series sets the tone for the remainder of the collection. This is not always the case. Some pictorials have a distinct, measured pace, doling out each new revelation of flesh one little bit at a time. Others jump around, tame here, explicit there, keeping the viewer on his toes. In image #001 in “Pithari,” Yani I reclines in a tall upholstered chair. She’s looking right at the camera and raising the hem of her dress, boldly revealing herself. I’ve seen sets in which the model is totally nude in the first image that were less overtly erotic than this shot of Yani A.

This is a hot, explicit, highly erotic pictorial. Oh, it’s stylish, and Rylsky executes some beautiful compositions throughout the collection. But while “Pithari” is certainly artful, steamy sexuality is present in nearly every frame. I find this particularly interesting because Yani A is very much a girl next door type. She’s appealing, to be sure, in both physical attributes as well as her attitude, but she comes across as a pretty young girl — she’s only 18 — and not some worldly heartbreaker.

And so, in shot after shot, Yani A offers us tempting view after tempting view of every inch of her slender, succulent, shapely, and inviting body. In #015 she’s bent over and supporting herself on a table with her arms while pushing her backside directly at the camera, a subtle smile on her lips. It’s an artfully erotic photograph of a young woman who clearly knows a thing or two about eroticism.

There are subtle, even demure images in the set. #016, a topless shot with no below-the-belt exposure at all (imagine that!) is stylish and painterly. #023, another fine Rylsky composition, captures Yani from behind, her dress dangling from her fingers, an intriguing look on her face. Her calm, relaxed expression also intrigues in #060, a seated pose with her knees pulled to her chest, arms holding them close. And, of course, in such a sex-centric pictorial, we also find explicit detailed close-ups such as #093, seated on a glass surface, thighs spread wide, the toes of her left foot relaxing up front while a double vision of delicate female flesh delights the eye and taunts the libido.