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Goat's Gallery
- Thread starter GoatJr
- Start date
The 1st version with text still attached ...
Loinclothslave
slave to the whip
Oh my, what amazing imagery! Welcome to our forums. May I have a go at writing some ad hoc story captions?
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Market Day
In the days before market the newly captured slave girls are put to tests of endurance and obedience. They are taught to fear the whip, sustain detailed physical inspection, and to grovel before their betters. The courtyard is well guarded by muscular Nubian overseer slaves with cruel whips and loyal only to the Master of the House. Hence bondage is unnecessary during this early training…
At market, the whip marks are displayed as proof their breaking in has begun. They are unshackled, proof that they are broken enough not to try escaping brazenly, yet will require further training. It is recommended all customers bring shackles for transportation of any purchases to protect their investment as it is impossible to insure against the loss by escape of a newly captured slave.
Of course, in this country, the potential for brutal training of the slave girls is highly desirable and so bidding wars ensue over that potential sadistic brutal training to come and unusually for fresh slave meat, these examples are often the costliest items sold at the market.
Unlike the men: any surviving male captives are kept in cruel, tight bondage at all times, heavily branded, flogged on a daily basis, and sold by the pound- usually in group lots. They are only bought by cruel owners for arduous hard labour and can only look forward to short brutalized lives under the lash.
—————————————
Market Day
In the days before market the newly captured slave girls are put to tests of endurance and obedience. They are taught to fear the whip, sustain detailed physical inspection, and to grovel before their betters. The courtyard is well guarded by muscular Nubian overseer slaves with cruel whips and loyal only to the Master of the House. Hence bondage is unnecessary during this early training…
At market, the whip marks are displayed as proof their breaking in has begun. They are unshackled, proof that they are broken enough not to try escaping brazenly, yet will require further training. It is recommended all customers bring shackles for transportation of any purchases to protect their investment as it is impossible to insure against the loss by escape of a newly captured slave.
Of course, in this country, the potential for brutal training of the slave girls is highly desirable and so bidding wars ensue over that potential sadistic brutal training to come and unusually for fresh slave meat, these examples are often the costliest items sold at the market.
Unlike the men: any surviving male captives are kept in cruel, tight bondage at all times, heavily branded, flogged on a daily basis, and sold by the pound- usually in group lots. They are only bought by cruel owners for arduous hard labour and can only look forward to short brutalized lives under the lash.
Loinclothslave
slave to the whip
Oh my gosh, the details are exquisite, i especially love the whip marks on this slavegirl:
Now then, girl, do not cry. That was just a taste of my whip, so you may know your place is to obey. Do not fret, child, with proper training and time you will learn your station and duty. You will also learn that the whip is a gift that you will grovel and beg to receive. Kneel now, my new slave, and prove to Master your growing acceptance by using your mouth to service what is growing in Master’s crotch.
Now then, girl, do not cry. That was just a taste of my whip, so you may know your place is to obey. Do not fret, child, with proper training and time you will learn your station and duty. You will also learn that the whip is a gift that you will grovel and beg to receive. Kneel now, my new slave, and prove to Master your growing acceptance by using your mouth to service what is growing in Master’s crotch.
Thank You , like it . All 3 story lines.
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bobinder
ARTISAN
Thanks for the hint in the CMCK - otherwise I don't think I would have recognised your composite figure of Alice. I cannot identify the source for the legs, but the upper body is fom 'Tiempo'. The yellow reflections in this series can be awkward to resolve, but this does not seem to be a problem in your picture. The manipulation presents a good sense of character interaction. Nice work, GoatJr!
Thanks for the hint in the CMCK - otherwise I don't think I would have recognised your composite figure of Alice. I cannot identify the source for the legs, but the upper body is fom 'Tiempo'. The yellow reflections in this series can be awkward to resolve, but this does not seem to be a problem in your picture. The manipulation presents a good sense of character interaction. Nice work, GoatJr!
Don't know her name ... right position for a composite ... once removed the yellow did make matching the skin tones a bit tricky . Thanks BOB , glad you like it ... I did tweek it a bit though . I work with Window 7 / Paint . My pos Toshiba fried a while back . I have windows 10 , just haven't gotten around to loading it. So I work with what I have . Use to draw and paint for the most part kind of the same style as I do now , I may actually till have some drawings lying around . Started to delve into manipulation a bit then I found this forum . You guys inspire me to keep trying to improve .
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bobinder
ARTISAN
Thanks for the background information, GoatJr. I don't recognise your source, and I think the red line is your cutting marker?
It is a useful pose, and it demonstrates how much work is required in a composite. The figure orientation, angle of view and colour present a close match, but the new legs are the only component in bright sunlight. However, you have resolved this anomaly with partial repainting, to give the appearance of ambient light in the manipulation.
Many of us are developing our skills, and I have learned several new techniques since joining CF. There is always something new waiting to be discovered.
Harsh Martinet
Consul
Excellent! I prefer pic 2.
bobinder
ARTISAN
Mykola Pymonenko's painting is entitled, 'Victime of Fanatisme' (1899). One of the questions posed by this painting is, does it represent a real incident? We are told that the artist was inspired by a newspaper article recording how the Ukrainian Jewish community threatened and abused a Jewish girl for wanting to marry a non-Jew. Whilst girls were actively dissuaded from such relationships, there seems to be a lack of evidence to show that anybody was actually killed in the way that a number of stories have implied. Perhaps equally contentious is the fact that the painting is the only depiction of Jewish life in Ukraine's National Art Museum.Two versions of a similar theme ... Special thanks to Barbaria for contributing the captions that add so much to the scenes ...
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GoatJr has made extensive modifications to the scene, including the removal of the original victim, to be replaced by the cross and gallows in two alternative versions (curiously, the original painting proved so popular that Pymonenko made two further copies of it). The underage characters are no longer visible, and as so often in the work of this manipulator, lighting effects contribute to the atmospheric quality. The scene is now a nocturne, illuminated by a full moon and the flames leaping from the windows of the house, and the cloud banks are bisected by a diagonal stream of black smoke.
With Barb's caption, we understand the scenes in terms of revolutionaries exacting their revenge upon their oppressors. The same pile of clothes lies at the foot of the gallows and the cross, contributing to the impression of summary 'justice', and the second victim waits in the cart. The crux scene features Alice, hanging in the same pose in which she recently appeared in GoatJr's recent, Roman themed, 'Walk of the Condemned'. Whether or not we interpret the scenes as a commentary on current events in the Ukraine is a choice for the viewer. This would not be the first time that art has depicted a Jewish mob demanding a death by crucifixion.
GoatJr has produced his reinterpretations with close attention to detail. The various painted and photographic elements have been blended successfully, and the result is convincing in terms of scale, lighting and saturation. The depiction of executions and burning property make these, arguably, more powerful images than Pymonenko's painting, but like the painting, the manipulations seem to pose more questions than answers. Nice work, GoatJr!
You are a true scholar ... your knowledge of art and history is astounding . Truly another amazing critique and informative commentary . Thank You sir for the kind remarks , you
are the best Bob !