Tag Archives: see-through

Before screening “Throne” I was surprised to discover that this MetArt HD movie presentation boasts a run time of just under four minutes. I don’t know if there are other videos in the archive of similar length, but I do know this is the shortest feature I’ve critiqued. I must say that any concerns this raised evaporated seconds after I’d pressed “play.”

Olga M. is a glamorous beauty with a smoky sensuality that is particularly well suited to motion pictures. She’s a delight in her still series, without a doubt, and if you’re a fan of her pictorials “Throne” is an absolute must-see. In fact, whether you’re familiar with her or not, I can recommend this production without reservation.

Leonardo‘s approach here is beautifully simple and simply beautiful. It begins with Olga M. posing in front of a stone column. Her outfit — stiletto heels, sheer black hose, and a sheer black body stocking — is sexy and incredibly flattering to the model’s lithe figure and dark coloring. And Olga knows how to move that beautiful body. Leonardo’s framing and camera movements create some truly moving images, in every sense of the phrase.

After the upright sequence Olga appears in a chair. Oddly enough, this is not the “Throne” pictured on the movie’s cover, which is an image lifted from an earlier still set, “Graziosa.” While reclining Olga M. smokes a cigarette (at the 2:17 mark), reveals her completely shaven sex (at 2:59), and finally uncovers her stiff-nippled breasts (at 3:05). The pacing of these events approaches perfection.

While there isn’t a dreary image or dull moment in “Throne,” one of the genuine highlights starts at 3:16, when Olga M., with her feet on the ground and her head supported on the chair, forms a graceful bridge. The view across her hips, mons and torso at 3:20 is wondrous.

Short in duration but long on erotic beauty, “Throne” is royally entertaining.

Anita E., making her MetArt debut in Leonardo’s “Presenting,” has a curvy body and an ovoid visage with full, plump cheeks. Her facial structure somehow amplifies the magnitude of her frequent smiles and she projects an extremely cheery demeanor. While Anita has ample opportunity to display her sultry side here, her defining characteristic, to my eyes, is a wholesome, personable, girl-next-doorness.

The set begins outside, and with no small amount of drama. Anita, wearing a semi-transparent tunic and colorful stiletto pumps, is standing against the heavy white balustrade of a marble-floored balcony somewhere high in the hills. Below and behind her, the seashore and the sky. The clouds swirl and the sunlight shifts from shot to shot. This may be the immediate aftermath of a storm, or perhaps a lull between squalls. Anita is bubbly throughout, and nature provides a truly impressive backdrop.

The bulk of the series continues indoors, against a railing of dark hardwood, at the top of a staircase. A muted pattern of stylized stars lights the background. And, in the foreground, the model undresses and reveals her truly beautiful body. There is nothing tentative about this debut, Anita withholds nothing — and Leonardo captures everything with his signature skill. Count me among the charmed.

Politics, religion, and pubic hair. These are the three topics that the etiquette experts advise us not to discuss in order to avoid argument and conflict with business associates or casual acquaintances. And I embrace the rule wholeheartedly. Alina H. is obviously, confidently, and proudly unshaven below the imaginary belt and you may feel free to love it, hate it, or ignore it.

I find two distinct sides to this model. In her towering high heels and with her hair pulled back there is a certain seriousness in her demeanor, a hint of severity. I get the sense that this is a strong, sexual woman, who will not settle for anything less than perfect performance from her admirers. But then, when she lets her hair down and relaxes into a smile there’s an undeniable sweetness, a softness and warmth that is anything but severe or serious.

And her physical structure, her face and body, really is quite striking. Leonardo’s lighting and set decoration — the mirror-finished floor and unusual blue color palate — manages to capture both the soft, ample curvature Alina possesses, while also accentuating her more chiseled, planar aspects. Why let a little hair spoil your enjoyment of all that?

I fervently hope — perhaps “pray” is the called for word — that the name of this series has no literal meaning. If Loreen A. is, in fact, taking her leave and bidding “Adieu” to MetArt there are going to be innumerable inconsolable members — she is a Top Ten Model, and it took many tens of thousands of lofty ratings to elevate her to that status.

But, in the worst possible case, if this is actually Loreen’s swan song, it is an absolute treasure. From #0112, a delightfully involving headshot (that’s it, above), to mouthwatering close-ups of magnificently moist anatomy — #0043 is one glorious example — this series is filled to the very brim with enticing images.

Loreen is a total delight, visually and spiritually. She is flirtatious, filled with fun, seductive, gleeful, teasing, thoughtful, and energetic. Her body is lithe, supremely shapely, a cream-skinned wonderland that the eyes never tire of exploring. And her eyes? Oh, they are glittering azure jewels.

Here’s hoping we’ll all soon be saying “Bonjour” to many more sets as wonderful as “Adieu,” starring Loreen A.

This — the world of MetArt — is a place where we retreat to savor fine photography, to delight in the beauty of myriad models, and to indulge our imaginations in fantasy. But don’t think that this type of escapism is the sole province of the male animal. Females use graphic imagery to fuel their own intimate fantasies, and that’s precisely what Kayla B. is doing at the start of Tony Murano’s “Bamike.”

Costumed in a sheer pink confection, Kayla reclines on a sofa. She stares longingly at the male model on the cover of a magazine — a magazine devoted to hairstyles for men, no less. She imagines kissing his rugged visage. She opens the magazine and lets her eyes roam over the well groomed male models that grace the pages. Her mind is afire with erotic imaginings. She puts aside the publication, and then slowly puts aside her sexy lingerie.

Now that Kayla’s lusts are inflamed, she can devote her full attention to inflaming ours! Both model and photographer are well aware of the physical assets at their disposal — Kayla reveals all, and Murano moves in close for truly eye-filling images. Feed your fantasies!

This is my first exposure to a model who has appeared many times before at MetArt. Her many admirers are well acquainted with Nelly’s beauty, but it caught me unawares and I’m still enjoying the feeling of surprise and delight that I get when I find a model who really “trips my trigger.”

Early on in the set I was intrigued by the red, see-through dress Nelly A. is wearing. But, until the dress was taken completely off, teasingly, I wasn’t fully aware of what a sublimely shapely body this model possesses. She has all the freshness of a young nubile, but she’s also sculpted into a womanly “hourglass” shape — the swell of her bosom, the trim, narrow waist, the full, rounded hips.

In addition to her physical delights, Nelly also possesses a model’s natural instincts. Even in this particular setting — is it outside a house that is undergoing renovation, or perhaps demolition? — amidst dirt, chunks of plaster, and broken masonry, she is elegant and refined. And desirable — very, very desirable!

Alena J. boasts a uniquely natural sort of beauty that this set captures faithfully. If she was dressed up in designer fashions and artfully applied make-up she’d fit right in with the most stylish, jet set crowd. But here, in her snug denim cut-offs and casual top she’s a fresh-faced, girl next door. And if she lived next door to you, you’d be one happy neighbor!

The domestic setting, it might be a hall in her family home, provides a fitting backdrop. Alena’s temperament is friendly, her smile a sign of easygoing approachability. She’s still smiling long after her casual clothes have been cast aside, but when she’s standing there, lithe, long-limbed, exposed and at ease, she’s no longer just “the girl next door,” she’s an extremely inviting example of finely sculpted femininity.

She’s so finely sculpted that even architectural details in her home appear to be responding to her. If you think you know what I’m talking about, share your insight in the comments.