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Alice Kiss - Crux Legend
- Thread starter bobinder
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bobinder
ARTISAN
Thanks for your observations, Phlebas. The idea of finding new series featuring Alice is rather exciting, and the model, named Tatiana in your series, does resemble Alice in many respects. The facial features are certainly very similar indeed. Tatiana appears in videos and stills for several sites, including:- specialexamination.com, maximumnude.com and nudesportvideos.com.
Beyond this, I know very little about Tatiana. I think she is probably Russian. Her sites are determined to indicate that she was 23 years old at the time of filming, and, as far as I can tell, her 'Special Examination' appears to date from 2016, first published on 19 January 2017. That would make her five years younger than Alice.
Whilst it is not impossible that Alice might return to nude modelling after an absence of ten years, with a new name for a new studio, any work for 'specialexamination.com' would involve her in a new genre with a very different remit from her previous work. Significantly, in 2007 - 2008, she never appeared with a male, and she never did anal penetration.
Apart from the implied age difference, Tatiana's head/body proportions indicate a taller person than Alice (who is 5'4") although they share many characteristics of slim build.
Alice and Tatiana compared below in similar poses -
Tatiana has no sign of a navel piercing (which might have healed after ten years) and no tattoo on her left shoulder (which might be Photoshopped out.) Her areolae are darker than Alice's, but she does have a large tattoo on her lower back - a remarkable feature which both girls have in common.
However, the tattoos are completely different. Alice has an asymmetrical humming bird, and Tatiana has a symmetrical triangular design. I must congratulate you on discovering a very near double for Alice in Tatiana, but I am forced to conclude that these are two distinctly different models.
Meanwhile, it might be interesting to explore the prevalence of the 'Alice type' in nude modelling, since the shaven, small-breasted sylph evidently appeals to the studios and the cognoscenti.
bobinder
ARTISAN
Well, 'Special Examination' just didn't seem to be Alice's style!Hats off to you, Bob - Phlebas had me convinced!
bobinder
ARTISAN
Thank you for these wonderful contributions, Heliogabalus! I like the variety and originality in your work very much. Thanks also for providing the source images. The portraits are all by Rylsky, and come from the series, 'Pietra', 'Kiss' and 'Domain', in that order.Trying to explore the natural beauty of Alice. The original of the crucifixion scene is of course a Makar picture but I don't remember which one it was. I think it was from the 'manipulation kit'.
Sadly, I do not have the Makar source for your crux manipulation in my collection, so it has not yet appeared in this thread. If you find it, please do post it here - or perhaps somebody else will assist in providing the original?
bobinder
ARTISAN
Hopefully somebody will be able to produce it.
Having failed to identify the Makar source for Heliogabalus' Alice crux manipulation, I thought I might have better luck with his background. This is a slightly modified version of an oil painting entitled, 'The Roman Theatre at Taormina' by Louise-Josephine Sarazin de Belmont and dates from 1828.
The location, variously described as the 'Ancient Greek Theatre' or the 'Roman Theatre', was evidently a popular subject for artists working in the classical landscape genre. The Sicilian town of Taormina is overlooked by Mount Etna, which can be seen smouldering in the background.
Sarazin de Belmont was born in Versailles in 1790, studied under Valenciennes and undertook the Grand Tour between 1824 - 1826, painting in Rome, Naples and Sicily, and later achieved success exhibiting her landscapes at the Paris Salon. She died in 1871 and her picture of 'The Roman Theatre at Taormina' is currently in the National Gallery, Washington DC.
The once derelict open air theatre is now restored and hosts performances. Sadly its restoration came too late for Alice's crucifixion, and Heliogabalus has placed her outside the overgrown ruins of the seating area. He has blended her into the scene with sympathetic tone and colouring and ensured consistent lighting by placing her in the shade. Denied centre stage, her isolation has been guaranteed by the removal of the figures which appeared in the original landscape.
Blending a photographic figure convincingly into a painting is a feat often associated with highly accomplished photo manipulators such as Damian. Heliogabalus is to be congratulated on producing such a successful and atmospheric image. I am looking forward to seeing more.
bobinder
ARTISAN
More from Heliogabalus
Heliogabalus has been busy, posting the results of his recent Photoshop manipulations here and in the 'CMCK Results' thread. I am glad to see so many of his creations employing the dependable, 'Most Manipulated Makar Model', Alice. He presents her in refreshingly novel interpretations of Makar's images, whilst constantly varying time and space. His titles consistently acknowledge the model's identity in a manner only occasionally employed by previous manipulators.
Two of the Makar sources in this post have not appeared previously in this thread, and Heliogabalus has kindly provided them for comparison.
'Alice at Sunset' is a beautiful, atmospheric piece, employing a pose popularised by numerous manipulators, in a scene evocative of the work of St. Johny. The peaceful scene of a dying day, with rippled, flowing water, simultaneously compliments and contrasts with the agony of the dying girl. The diagonal emphases of Alice and her cross, are similarly reflected in the clouds radiating from the sun in this attractive composition.
'Alice in China' uses another iconic pose, this time set against a stunning landscape vista dominated by high cliffs and distinctive oriental architecture. Heliogabalus blends Alice into the picture as part of the scene. She rarely takes centre stage in his work, but appears on the sidelines as a complimentary subject within the composition. In this image, she is neatly silhouetted against an area of open sky, and Makar's cross and ropes have been deleted, since she is nailed to a tall tau cross of planed timber. I have not identified the precise location, or the original painting, but Heliogabalus has combined the painted and photographic sources very convincingly.
'Alice in Mordor' presents an ambitious composition, not least in terms of the lighting in another painted background. Placed again to one side of the picture, Alice's pale form is highlighted by the black volcanic precipice which rises behind her. The dramatic spectacle appears about to end imminently in the merciful conflagration of both cross and contents in the molten lava!
Heliogabalus uses the same pose, reversed, in the much calmer surroundings of 'Alice in Autumn'. Here he has preserved Makar's original angle of view (within five degrees) and the flaming reds and yellows are now those of a subtly filtered autumnal scene. The photographic background is thus imbued with a painterly quality. The cross balances the composition with the inclined tree on the opposite side of the picture, but Alice is unlikely to fall like a dead leaf.
'Alice Aquarel' provides a fine example of Heliogabalus' filter work, evoking a style of thin watercolour wash, complete with splashed droplets. Alice emerges from the picture in one of the most expressive poses I have seen to date, and this interpretation blends painting and photography, beauty and agony, altogether in a most impressive fashion.
Thank you for these and your other pictures in this thread, Heliogabalus. You are developing an original style and I am very much looking forward to seeing more!
Heliogabalus has been busy, posting the results of his recent Photoshop manipulations here and in the 'CMCK Results' thread. I am glad to see so many of his creations employing the dependable, 'Most Manipulated Makar Model', Alice. He presents her in refreshingly novel interpretations of Makar's images, whilst constantly varying time and space. His titles consistently acknowledge the model's identity in a manner only occasionally employed by previous manipulators.
Two of the Makar sources in this post have not appeared previously in this thread, and Heliogabalus has kindly provided them for comparison.
'Alice at Sunset' is a beautiful, atmospheric piece, employing a pose popularised by numerous manipulators, in a scene evocative of the work of St. Johny. The peaceful scene of a dying day, with rippled, flowing water, simultaneously compliments and contrasts with the agony of the dying girl. The diagonal emphases of Alice and her cross, are similarly reflected in the clouds radiating from the sun in this attractive composition.
'Alice in China' uses another iconic pose, this time set against a stunning landscape vista dominated by high cliffs and distinctive oriental architecture. Heliogabalus blends Alice into the picture as part of the scene. She rarely takes centre stage in his work, but appears on the sidelines as a complimentary subject within the composition. In this image, she is neatly silhouetted against an area of open sky, and Makar's cross and ropes have been deleted, since she is nailed to a tall tau cross of planed timber. I have not identified the precise location, or the original painting, but Heliogabalus has combined the painted and photographic sources very convincingly.
'Alice in Mordor' presents an ambitious composition, not least in terms of the lighting in another painted background. Placed again to one side of the picture, Alice's pale form is highlighted by the black volcanic precipice which rises behind her. The dramatic spectacle appears about to end imminently in the merciful conflagration of both cross and contents in the molten lava!
Heliogabalus uses the same pose, reversed, in the much calmer surroundings of 'Alice in Autumn'. Here he has preserved Makar's original angle of view (within five degrees) and the flaming reds and yellows are now those of a subtly filtered autumnal scene. The photographic background is thus imbued with a painterly quality. The cross balances the composition with the inclined tree on the opposite side of the picture, but Alice is unlikely to fall like a dead leaf.
'Alice Aquarel' provides a fine example of Heliogabalus' filter work, evoking a style of thin watercolour wash, complete with splashed droplets. Alice emerges from the picture in one of the most expressive poses I have seen to date, and this interpretation blends painting and photography, beauty and agony, altogether in a most impressive fashion.
Thank you for these and your other pictures in this thread, Heliogabalus. You are developing an original style and I am very much looking forward to seeing more!
bobinder
ARTISAN
Today is Makar's birthday. 17 February 2018 would have seen him celebrating his 50th year.
See the thread, 'Makar Memorial' - http://www.cruxforums.com/xf/threads/makar-memorial.1300/post-364051
Alice was previously associated with Makar's birthday in 2015, when admihoek posted the video, 'Alice and Koshka in the Crux Forrest' in celebration of the event, on the 'Milestones' thread - http://www.cruxforums.com/xf/threads/milestones.1536/post-159879
As a tribute to Makar on today's occasion, Alice has made a number of appearances in my DeviantArt gallery. The series of manipulations entitled, 'Alice in Berlin' depict her, appropriately, receiving lots of attention from photographers, under somewhat different conditions from those imposed by Makar.
The pictures employ portraits by Rylsky, from the series 'Crush', published by Met Models on 5 December 2007. The backgrounds (one of which is a composite image) are derived from scenes at the Berlinale Film Festival which, co-incidentally, is being held this week.
As photo manipulations, they presented interesting challenges in terms of the flash lighting and consistency for Alice's evening gown, hair and earrings. Each picture required different adjustments of colour balance, saturation and contrast to produce a convincing effect. In the interest of consistency, further details included the application of Alice's tattoo to her left shoulder in the first picture, and digital repainting of flesh tones in the upper body and shoulders to remove incorrect clothing in other views.
See the thread, 'Makar Memorial' - http://www.cruxforums.com/xf/threads/makar-memorial.1300/post-364051
Alice was previously associated with Makar's birthday in 2015, when admihoek posted the video, 'Alice and Koshka in the Crux Forrest' in celebration of the event, on the 'Milestones' thread - http://www.cruxforums.com/xf/threads/milestones.1536/post-159879
As a tribute to Makar on today's occasion, Alice has made a number of appearances in my DeviantArt gallery. The series of manipulations entitled, 'Alice in Berlin' depict her, appropriately, receiving lots of attention from photographers, under somewhat different conditions from those imposed by Makar.
The pictures employ portraits by Rylsky, from the series 'Crush', published by Met Models on 5 December 2007. The backgrounds (one of which is a composite image) are derived from scenes at the Berlinale Film Festival which, co-incidentally, is being held this week.
As photo manipulations, they presented interesting challenges in terms of the flash lighting and consistency for Alice's evening gown, hair and earrings. Each picture required different adjustments of colour balance, saturation and contrast to produce a convincing effect. In the interest of consistency, further details included the application of Alice's tattoo to her left shoulder in the first picture, and digital repainting of flesh tones in the upper body and shoulders to remove incorrect clothing in other views.
bobinder
ARTISAN
Other images of Alice which have appeared in commemoration of Makar's 50th birthday include the Russian Tatler cover, which forms part of the publicity package for 'Barbarossanova'. For this manipulation, I used a Valery Anzilov portrait, taken in bright sunlight, from the Crimean series, 'Astronomy Class', published by Femjoy on 5 October 2007. Alice's face was reversed on the cover in the interests of consistent direction of sunlight, but appears in correct orientation in the clean versions of the picture. Makar was evidently pleased with the only picture he ever took of Alice wearing clothes, and it seemed appropriate to perpetuate this theme as part of the tribute.
Makar's DeviantArt gallery contains a variety of subjects in addition to his crux pictures, including a landscape view taken in Crete, entitled, '14 December 2007'. This was a favourite location, and Makar had a holiday home on the island, where he enjoyed spending time away from work. There must now be hundreds of crux manipulations of Makar models, but I am not aware of any which use an authentic Makar background. And so, as a further tribute, I decided to create a manipulation composed entirely of Makar source images.
The result uses the Crete landscape, expanded, with selective contrast adjustments, and some buildings deleted from the middle distance. Alice was cut out complete with cross and ropes, and treated to selective colour and contrast adjustments to eliminate the green light reflections from the original forest scene. The only non-Makar component is the end of the patibulum on the right, which is digitally painted. Otherwise, this manip of Alice in one of her most expressive poses is all Makar's work.
Makar's DeviantArt gallery contains a variety of subjects in addition to his crux pictures, including a landscape view taken in Crete, entitled, '14 December 2007'. This was a favourite location, and Makar had a holiday home on the island, where he enjoyed spending time away from work. There must now be hundreds of crux manipulations of Makar models, but I am not aware of any which use an authentic Makar background. And so, as a further tribute, I decided to create a manipulation composed entirely of Makar source images.
The result uses the Crete landscape, expanded, with selective contrast adjustments, and some buildings deleted from the middle distance. Alice was cut out complete with cross and ropes, and treated to selective colour and contrast adjustments to eliminate the green light reflections from the original forest scene. The only non-Makar component is the end of the patibulum on the right, which is digitally painted. Otherwise, this manip of Alice in one of her most expressive poses is all Makar's work.
morten sigurdson
Voivode of Wallachia
Great Respect to Makar!! R.I.P. I love his works very much. And many thanks to you MR. Bob for this thread.
bobinder
ARTISAN
Thank you Morten - you are following in the footsteps of a great man.
And it is always a pleasure to share pictures of Alice.
morten sigurdson
Voivode of Wallachia
Great! Thanks a lotThank you Morten - you are following in the footsteps of a great man.
And it is always a pleasure to share pictures of Alice.
That's true!you are following in the footsteps of a great man.
morten sigurdson
Voivode of Wallachia
Thanks
Master Centurion
Guard
Obviously, it is as a master crux photographer that Makar is best remembered on Cruxforums, where he was a founder member. Together with his friend ImageMaker, he established Cruxdreams, which IM continues to direct to this day. From his early experimental work in a makeshift studio, Makar put his models through demanding performances, often taking them outdoors to experience their ordeal, fully exposed in the natural environment.
Like many artists, some of his best results came from the application of talent and skill, and others were serendipitous accidents, but he seemed to know what he was looking for in a photo session, and appreciated the models who could provide it. His pictures can be found all over our site, together with the countless photo manipulations which they have inspired. Of the Cruxdreams models, following a single session in 2007, Alice has probably appeared in more manips than any other crux star.
Makar valued his candid, 'behind the scenes' pictures, and when asked on Crux Foundation what Alice looked like with clothes on, proudly produced his solitary example of precisely the subject requested (above.)
This recent manipulation (below) depicts Alice on location during the filming of the virtual movie 'Barbarossanova'. Whilst most of her modelling was done for the major studios, it is not as Rylsky's Alice or Rigin's Olga that she is popularly known among crux fans, but as Makar's Alice.
Makar's pictures celebrate the erotic nude in the crux genre, and we have much to thank him for within that genre.
Thank you for joining me in this little celebration for the man who loved to photograph women.
It seems that in real life this model Alice / Anna T chose to continue her career in the adult business by performing in rough sex / bdsm videos: http://defiled18.com/videos/3049/defiled18-anna-t/
Maybe Makar was able to make her discover her real nature...
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bobinder
ARTISAN
An interesting theory...
P.S. Alice is the one without any darkening of the aureolae, or moles on her breasts, or flared nostrils.
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Different thooth form and direction also.Indeed, Master Centurion, we lost a great talent in Makar.
An interesting theory...
View attachment 562422
P.S. Alice is the one without any darkening of the aureolae, or moles on her breasts, or flared nostrils.
bobinder
ARTISAN
I was hoping we would not have to rely on dental records for identification!