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passocorto — Forced To Restrain Quickly Themselves
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Published: 2018-03-05 19:45:09 +0000 UTC; Views: 33746; Favourites: 328; Downloads: 998
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Comments: 45
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I love the idea that I'm made to fit my own shackles- with the flicks of the whip to remind me to co-operate!
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But whip hurls alot! aren't you afraid?
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Well, that's the intention! But I'm a strange girl, I can enjoy pain, and I fantasise a lot about exciting situations like you create in your pictures - even act them out (but safely and sensibly)
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I envy you, cause I did not have the opportunity to act them really
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Nice work! Lots of details. Nice interactions among the characters.
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Many thanks, I appreciate
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Amazing work! I really like how you always seem to capture that intense moment of transition to forced bondage.
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amazing like always now that is interesting force the girl to get nude and force to shacked themselves.
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Amazingly detailed as usual . Excellent facial expressions .
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Good idea. Gotta teach them the necessary skills to survive and excel in that challenging environment, right?
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or, simply, try to speed up having the work done
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The best thing is that the perverted, brainless cunt-maids hurt themselves the most. From the beginning, the sluts are trained to obey and get shit on themselves, hurt themselves, and punish themselves. The slave traders have it so easy with the feeble-minded, submissive girls.
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I see that the tradition of "Les Pompiers" has not completely disappeared...
Je vois ben que la tradition des peintres "pompiers" n'est pas aussi déçue comme je croyait.
Vedo che la tradizione della scuola "pompier" non e` ancor morta.
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If I draw following that tradition I confess that I do it as a rough ignorant following only my way of doing it. If you show me some examples of that school I thank you very much
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One of the staples of the Art Pompier was, beside a luscious technical ability, the tendency to use foreign, exotic settings, especially when portraying questionable material like the execution of a woman or, in general, female nudity.
Or, to be more forward, their virtual inability to portray any such theme without reassuring their public inserting this events in distant settings, the more unrelated to the prospective buyers of their oeuvres, the better - the same people who wanted to kill Manet for his "Petit déjeuner sur l'herbe" had no issues with Jean-Léon Gérôme and his various "Turkish Baths", Harems and "slave sales" .
When I see your drawings with "arab" males mistreating white women, I see pretty much the same.
Great technical base, tawdry scenery yet reassuring the public that "it does not happen here".
Except, of course, that every now and then it actually does happen "here"...
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I agree with you on one point DaBotz : the use of "arab" types may be seen as reinforcing certain clichés and prejudices. I plead guilty to that occasionally myself, although I try to avoid it.
Other than that, I must disagree : first on the qualification of "the execution of a woman" or "female nudity" as questionable. One may well find such subjects questionable of course, but then much of art becomes questionable too, and to begin with the innumerable crucifixions and martyrdoms of saints to be found in countless churches. Without forgetting other gruesome scenes of biblical inspiration such as Judith beheading Holophernes by Caravaggio ...
The use of "distant settings" to make nudity socially acceptable is nothing new, and was not invented by the "pompiers" : the Greeks themselves indulged in representations of nudity sometimes for its own sake, but also of erotic (or some would say pornographic) scenes, under pretence of mythology. This was revived during the renaissance : what is The Birth of Venus by Botticelli but a painting of a nude woman (covering herself, admittedly) disguised as mythology ? The use of "oriental" settings in the 19th C was only another avatar of the same trend.
Manet's Déjeûner sur l'herbe does not take place in an oasis in the Orient - rather somewhere in the countryside around Paris - but makes no claim to greater "realism" for all that. Of course the representation of a nude woman (a prostitute ?) sharing a picnic with two fully-clothed gentlemen can be considered as as questionable, from a social or political point of view, as the sale of a "harem girl".
And finally one is free to like or dislike passocorto's drawings for their own sake.
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I like passocorto drawings - apart the little "hypocrisy" inherent in choosing "foreigner" settings.
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The "Déjeuner" is, in fact, way less realistic than the "pompiers" I was referring too... the "problem" was that its setting
was "awfully" close to the public (it could have been a corner whatsoever of the "Bois de Boulogne"), instead of being
the usual and accepted far away land, an "educative" bible episode or a forgotten pagan era.
I understand the logic behind it - plenty of persons want to lust, while keeping a comfortable safety distance from the
realities that experimenting their lust would entails.
However, I can't help but finding it - a bit - a form of childish moral cowardice.
Of course I also understand that one can't always use his dining room as a setting, and himself as the master torturer as
it comes out a bit obsessive... not that I care.
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Yes, there is certainly an element of cowardice or hyprocrisy in displacing "nude" scenes to faraway or "culturally respectable" settings.
But this may be also a consequence of social pressure from a prudish or puritan society that objects to the display or suggestion of nudity - in Victorian England, the bourgeoisie covered the legs of their tables and chairs because they have "legs" in English and the sight of a bare "leg" was unacceptable. In present-day North America, the sight of a bare breast in a newspaper ad (for breast-feeding for example) is considered objectionable by some. In 2018 Facebook censors images of works of art showing sexual organs ...
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if it wasn't "caving in" to some pressure, if it was just a form of self-censorship out of personal reasons (someone may
even really believe that nothing similar is possible in his or her own society/culture/environment, yet craving it) the word
"cowardice" would not be warranted.
Of course, we all have our cowardice threshold...
Oor I would publish all of my stuff here, and even under my slave true name.
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You are true, I should have been more careful with the geografic characterization, given also that that kinds of prejudicial feelings is totally far from me. I used that type of character as a symbol of a submitted role of women that is frequent in many places, mostly in near and central Asia, not depending on nation or religion but rising from millenary social traditions still living. But that reference is finally not so relevant.
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I agree;
If the whole "#metoo " thing teaches us something, is that one does not really need to look so far away, in yime or space, to find some fine examples of women's
sexual exploitation...
And although most "predators" in the western side of the world try to avoid leaving physical marks, in case the subject of their activities has a moment of rebellion
down the road, there is also a valiant minority that sees no problems going straight into "criminal" territory to have some fun, and can easily duplicate the "best"
that any other culture may have to offer on the subject.
Of course, portraying any such scene can easily get you the random death threat - or at least, someone vocally wishing you a precocious end - so going for that kind of
social realism has its drawbacks.
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in fact about my drawings there is no message, no fear, not any idea to tell a story politically correct or not. As it is quite easy for me to transfer a 3d fantasy in the 2d representation of the images, I have done those drawings for myself, to avoid to keep all that inside. I have done in years, as a private thing, like a personal journal, until I shared in DA the first ones with some unexpected consent. only after I have shared the others. It is only my dark fantasy represented as it was, nothing more.
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Exactly why I use "oriental" (or "central asian") settings ...
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thank you, now I understand you
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L'art "pompier", another name fort "art académique", doesn't have much relation as far as I can see with what you're doing. Maybe DaBotz can explain.
en.wikipedia.org/wiki/Academic…
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I do not know if am an artist or not, but talking about the true art I believe that the true artists escape classifications anf fashons. They are always themselves. In USA, e.g., together with the Op Art it came the Pop Art and the iperrealistic art, but each name generally means a specific artist. In Italy during the Manierismo there was the great Caravaggio who was braking all. Just to remain in Spain Goya, Picasso and Dalì were not belonging to any school.
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Quite true. However, even though each artist has his or her own style, there can be similarities and common points between them : Manet is not Monet is not Pissaro is not Sisley (etc.) but they all worked more or less in the same direction, influenced each other, appreciated each other (or not, sometimes), which is why critics defined "schools" I suppose.
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You are right. Anyway it is a pleasant academic discussion, given that first I should define "ART" my drawing exercise
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"Orientalist", maybe... especially thinking of Delacroix, whose dynamic and painterly work yours reminds me of. But not "Art Pompier", which was austere, soulless and fixated on classical antiquity.
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great scene, I love all the details you put into your work, the hands groping, the look on their faces, great work
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The young women almost look like they are having fun!
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If your reference is the brunette self chaining I failed, because I tried to express a rimace of pain due to the whipslash
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Adds to the detail; the whiplash is evident and, you know, she may not be taking it too badly. Soon to be shackled like the rest. Lovely work; thanks for sharing.
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anyway I have amended the image
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Yes, that one - I thought she looked amused too ...
Otherwise a great scene.
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the adjustment was successful!
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