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A dude this muscular doesn’t spank like a weenie, but the wink Our Heroine is giving us? She’s letting us know she’s loving it:
Artwork is by 7th-Heaven, who is also on Patreon as Dovoros.
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I posted this classical-looking whipping scene almost a decade ago, but now I have it in a much larger, higher-resolution, and uncropped image:
The artwork is called “Satyr Whipping A Nymph” or sometimes “Satyr Flogging A Nymph” and it’s by Italian printmaker Agostino Carracci, usually attributed to his Lascivie. What that means, precisely, is obscure, as a page at the British Museum points out:
It is unclear, however, what exactly the Lascivie were. Were they a series, or were they just a number of different prints with erotic subject matter, which were subsequently given a group name?
Baglione wrote of Agostino having composed a small book (libretto; 1642, p.390), and this was to be echoed later by Bellori (Bellori, 1976, p.129). Estimates of the number of prints that might be said to constitute the Lascivie vary. Richard Symonds thought there were 24, for he owned a: ‘Booke of 22 pieces of Venus & Cupid & Satyrs etc. want 2 the plumet & the satyr chyavando as large as the paese’. The book formed part of the collection of prints that he acquired in Rome in the years 1650 to 1651.
Bellori thought that Agostino’s libretto consisted of 16 pieces (Bellori, 1976, p.129). Malvasia seems to have been uncertain about the precise number, writing that there were either 16, or 17 if B.114 (DeGrazia 190) was included (Malvasia, 1841, I,. pp.80-81). DeGrazia’s own view (1984, pp.168ff.), largely following Malvasia, is that the group should be regarded as having been composed of B.114 + B.123/36 (her nos 176-190). She does not include B.115 (her no.211) although Malvasia did (I, p.81), and she rejects as Agostino’s at all B.112 (her R30). While her total amounts to 15, she expresses doubts about whether Agostino did mean them to form a series (1984, p.169).
Bartsch 128, 131, 133 and 134 are part of a core group of 13, all of which are set in a landscape and all more or less of the same size (150/152 mm x 102/117 mm). But they are not homogeneous in subject matter: two are biblical (B.124 &127), six are mythological narratives (B.123, 125, 126, 129, 135, 130), while five are unspecific satyr stories (B. 128, 131, 132, 133, 134). The 1648 shop inventory of the De Rossi copperplates includes: ’13 – Pezzi de lascive de Caracci in quarto’ (Consagra, 1993, pp.179 and 513, who argued that they were copies).
Their dating is also a problem. Arnoldus Buchelius bought one of them, the Venus chastising Cupid in 1599 (B.135; cited Kurz, 1951, p.232, n.4). It is sometimes said that Clement VIII rebuked Agostino for his part in the business, an idea that has been used to argue for a dating in the 1590s (Clement VIII was elected in 1592); but that depends upon a misreading of Malvasia’s text, for his mention of a Pope Clement was not a reference to Clement VIII, but to Clement VII (1523-34) and to the events surrounding the scandalous I Modi of Marcantonio (Malvasia I, p.281; see also Summerscale, 2000, pp.129-30, who clarifies the meaning).
On stylistic grounds, many of the core group of 13 could be dated to the mid to late 1580s. However B.134 (DeGrazia 187) looks different. It must have been done earlier, for the lines tend to be uniform in thickness and the modelling does not attempt the roundedness of form that Agostino was aiming at by the mid 1580s. It is difficult, in fact, to think it could have been done later than about 1582. This might suggest that the beginnings of this group of engravings lay in his first visit to Venice in that year, and they may then have occupied him on and off over a few years. The idea that they formed a conventional series seems therefore unlikely; however as he engraved new plates, Agostino made them conform to the same general format, so as to form an open-ended group.
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How much fun can you have with a few whips? The fellows in this cheerfully-brutal artwork by Hedon seem to have hit upon a strategy for finding out: they are throwing a bondage fellatio party!
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If you catch a really busy camgirl with a large following in an honest moment, it’s very possible that she’ll admit that she never quite feels fully “off-duty.” Even when she’s not in her chatroom and she’s not performing, she may feel like the camera’s eye is always on her. A popular cams performer like Chaturbatable with more than 90k followers feels a certain pressure to be “up” and available, no matter where she goes and no matter what she’s doing. Eventually in the privacy of her own bathroom when she’s perched on the toilet, she may feel like her fans are watching. Perhaps not 100% literally, but she feels the pressure of them in her every waking moment, because at some level she never stops wondering if she ought to be online and making money, making her fans happy:
To some extent, of course, every successful self-employed professional experiences that very same pressure. And there’s nothing anybody can do about it, except strive for a good functional balance between work and the rest of your life. You can’t let ninety thousand dudes — a tenth of a million, almost! — who think you’re sexy, make you start feeling paranoid that you’re taking too much time away from them to pee and to relax and to pet your cat. That way likes sheerest madness…
Which is why, I imagine, that highly successful webcam performers are all very good at prioritizing their time. They pick favorites, and for good reason! They always have a few preferred gentlemen fans who stand out from the crowd by tipping early and well, by not wasting time, and by moving swiftly and without fuss to the premium side of the performer’s menu of options that she uses for allocating her limited attention. These special favorites are the men who reduce a performer’s stress level and make her purr like a happy kitten. It’s always better to be more like these favorite men, and less like the hopeless dude who smashes his piggybank, and thinks he’s somehow going to use his small coins to pay for a night of passion with a disgruntled lady. How is that going to end well?
That black cloud with the lightning bolt is the international symbol for “no fun tonight!” Not the sort of thing any man ever wants to see. When you engage a sex worker or spend time being entertained by a webcams performer, you want her to be in a happy, upbeat mood. That’s how you see her best side, and that’s when she gives you her best show:
That’s the smile you want to see!
In the many years that Spanking Blog has been running, we have from time to time been amused to encounter some newbie blogger who excitedly reports “I finally got spanked! And it was fun! Only… like… it really hurt, a lot!”
Er, yes. Rather. If it’s done properly. (At least, that’s how the “big old meanies” among us tend to feel.)
I am reminded of this, sometimes, by the intake interview photos and video that Realspankings.com sometimes posts for members, when they are preparing a new model for the … ahem … rigors of performing. This photo of Maya almost made me fall off my chair laughing when I saw it. She’s got a very nice leather strap in her hand that should have calmed that smile. She’s very happy and vivacious, though; a little too “up” to have fully parsed what the strap implies. She’s getting an idea of what she’s in for, but she hasn’t fully got it, not yet:
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This prison tit whipping art is by deMentia and comes with the title “A Squealer Reprimanded.”
Remember, ladies, nobody likes a squealer!
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Our villain’s hood suggests that this is a kidnap situation, while the erection gives away the game: the bondage whipping is just foreplay. I guess our kidnapper doesn’t have a handy dungeon to take his victims to for his sex whipping fun. Heck, we know he’s not even all that deep in the woods, or he wouldn’t need the ball gag:
Artwork is from Bond Adventures.
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