Both images are lovely but for me I prefer that tiny tunic which is extra sexy!
Wonderful vignettes btw. Thank you!
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Cam's Camera: Slave Girls
- Thread starter CamCrux
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Wonderful vignettes btw. Thank you!
CamCrux
Magistrate
Thanks ! And no, the ankle cuff is a personal addition.
An excellent addition if I may say so?
Lissa's slender figure makes for a very attractive modern interpretation of this scene, and her pose is very close to that of the original model. Gerome used the same figure studies and groups in a number of different paintings. His slave girls and other characters reappear in different environments, although they remain quite recognisable. The formula for this group contains several repeated motifs - the man on the right holds the white cloth in one hand and a walking stick in the other; the customer's left hand is on the girl's head whilst his right probes her mouth; the basic details of the composition are the same, including a blanket on the ground.Another painting by Jean-Léon Gérôme has been tampered with : Achat d'une esclave (Buying a Slave), dated 1857.
Very close in composition to Le Marché d'esclaves, except this one is set in an undefined antique time and place.
The model here is known as Lissa.
Lissa's skin tones are plausibly more realistic that the golden tones of Gerome's model. Whilst Lissa's pose precludes the oral examination of the original picture, her face is being handled convincingly by the customer, preserving an intimate sense of character interaction.
We can just see one fingertip of the man's left hand on the girl's head, but otherwise several details have been modified to conceal the original figure, such as the extended area of white cloth behind Lissa's left shoulder, and the recreated masonry behind her head. This looks like an area of sympathetic digital painting, and a tattered, pink cloth has been added on either side of Lissa's hips in a manner which makes her appear to be removing this simple item of clothing. This device is very effective and so convincing that we overlook the small area of painted leg behind Lissa's left calf.
The overall effect is quite appealing, with sympathetic lighting and colour saturation. I note that Kam has confirmed the ankle bracelet as being his own addition, and such details are characteristic of his style. The choice of model has evidently met with Zungur's approval (she appears in his drawings) and it sounds as if she will be featured again among the slave girl manipulations in this thread. I used her once in a manip several years ago, and I am sure that further appearances will be most welcome! Nice work, Kam!
A really splendid job of blending the new model into the painting. She looks entirely natural there. Great work.
On another note, however, is she biting the hand of this other fellow? No wonder he doesn't look pleased.
CamCrux
Magistrate
Thanks again Bob for your detailed, uncompromising, yet sympathetic review of my picture.Lissa's slender figure makes for a very attractive modern interpretation of this scene, and her pose is very close to that of the original model. Gerome used the same figure studies and groups in a number of different paintings. His slave girls and other characters reappear in different environments, although they remain quite recognisable. The formula for this group contains several repeated motifs - the man on the right holds the white cloth in one hand and a walking stick in the other; the customer's left hand is on the girl's head whilst his right probes her mouth; the basic details of the composition are the same, including a blanket on the ground.
Lissa's skin tones are plausibly more realistic that the golden tones of Gerome's model. Whilst Lissa's pose precludes the oral examination of the original picture, her face is being handled convincingly by the customer, preserving an intimate sense of character interaction.
We can just see one fingertip of the man's left hand on the girl's head, but otherwise several details have been modified to conceal the original figure, such as the extended area of white cloth behind Lissa's left shoulder, and the recreated masonry behind her head. This looks like an area of sympathetic digital painting, and a tattered, pink cloth has been added on either side of Lissa's hips in a manner which makes her appear to be removing this simple item of clothing. This device is very effective and so convincing that we overlook the small area of painted leg behind Lissa's left calf.
The overall effect is quite appealing, with sympathetic lighting and colour saturation. I note that Kam has confirmed the ankle bracelet as being his own addition, and such details are characteristic of his style. The choice of model has evidently met with Zungur's approval (she appears in his drawings) and it sounds as if she will be featured again among the slave girl manipulations in this thread. I used her once in a manip several years ago, and I am sure that further appearances will be most welcome! Nice work, Kam!
I love the way you point at a defect (the original girl's legs pointing behind those of Lissa, an oversight on my part, probably due to too much haste and the closeness in colours of the buyer's robes and the girl's skin) by wrapping it into a compliment
And thanks to all for your support. I will strive in the future to even better answer Zungur's admiration of Lissa, Loinclothslave1's appreciation of ankle cuffs, and Bobinder's keen eye and attention to detail and global effect
That very moving 're-visiting' of l'Achat prompted me to recall the words of Kai Kāʾūs ibn Iskander in his 'Qabus Nama', a book of advice for his son on all aspects of a gentleman's life, including a long and detailed chapter on the purchase of slaves':
'You must inspect everything. When you see beauty in the eyes and eyebrows, delicacy in the nose, sweetness in the lips and teeth, and freshness in the skin, then buy the slave ...'
www.laphamsquarterly.org
'You must inspect everything. When you see beauty in the eyes and eyebrows, delicacy in the nose, sweetness in the lips and teeth, and freshness in the skin, then buy the slave ...'
Market Research
When you set out to buy slaves, be cautious. The buying of men is a difficult art because many a slave may appear to be good who, regarded with knowledge, turns out to be the opposite. Most people ima
www.laphamsquarterly.org
CamCrux
Magistrate
If the hand was to have probed into the girl's mouth, like in The Slave Market, the scale would have been wrong, the girl then looking too big in relation to the other characters. So I left it like this, and the viewer free to imagine what the buyer may be doing with his hand on the slave's cheek.A really splendid job of blending the new model into the painting. She looks entirely natural there. Great work.
On another note, however, is she biting the hand of this other fellow? No wonder he doesn't look pleased.
Excellent work, Kam - you made some small, detail improvements and now she really looks as if she is standing in the scene. This is looking very good indeed!I have made slight corrections in response to Bob's observation of "the small area of painted leg behind Lissa's left calf". Gérôme's original slave girl should now have disappeared entirely ...
CamCrux
Magistrate
Another fairly straightforward manipulation on the well-trodden path of the "slave market". the inspiration this time bein given by Fabio Fabbi's painting "the Slave Market" (could not find the original Italian title) and the gracious Sultana / Sasha C.
Not sure it actually "improves" on the original, but you have to keep in practise...
A reproduction of the original is here, courtesy of harrymoore88 of DA.
Not sure it actually "improves" on the original, but you have to keep in practise...
A reproduction of the original is here, courtesy of harrymoore88 of DA.
La vendita di una schiava.
Only by comparing the original painting can we see the extent of your modifications, Kam. The new figure has been blended very sympathetically, following some subtle adjustments to the clothing items being worn and removed by her vendor. The resulting manipulation presents an attractive variation with consistent colour and lighting,Another fairly straightforward manipulation on the well-trodden path of the "slave market". the inspiration this time bein given by Fabio Fabbi's painting "the Slave Market" (could not find the original Italian title) and the gracious Sultana / Sasha C.
Not sure it actually "improves" on the original, but you have to keep in practise...
A reproduction of the original is here, courtesy of harrymoore88 of DA.
CamCrux
Magistrate
Vente d'esclaves au Caire (The Slave Market) is a painting by Jean-Léon Gérôme dated 1871 and kept at the Cincinnati Art Museum. A picture of the original is here : fr.wikipedia.org/wiki/Vente_d%…
I'm happy to present this "revised" version, enriched with three more unfortunate girls : standing against the wall is model Lissa ; Putri is sitting in front of her, forced to expose herself in an indecent manner ; on the right is Ryonen.
Thanks to Sclava of DA who contributed a story.
I'm happy to present this "revised" version, enriched with three more unfortunate girls : standing against the wall is model Lissa ; Putri is sitting in front of her, forced to expose herself in an indecent manner ; on the right is Ryonen.
Thanks to Sclava of DA who contributed a story.
I really like the way you blend the girls into the painting, this can be one of the tricky bits in a manip, and very skillfully done here. It also adds to the notion of overall prosperity of the merchant. I always thought the original painting had a sort of melancholy feeling, with a merchant trying to sell less fortunate or desirable slavegirls, but here his shop has a more vibrant look. This is one of those inspirational paintings that several manip artists have experimented with, and it's always interesting to see what other artists do with it.
I'm happy to present this "revised" version, enriched with three more unfortunate girls : standing against the wall is model Lissa ; Putri is sitting in front of her, forced to expose herself in an indecent manner ; on the right is Ryonen.
Thanks to Sclava of DA who contributed a story.
Gerome painted a diverse ethnic mix of slavegirls for the original picture, and this is reflected in the choice of three new figures.
As Jolly observes, the additions are sympathetically blended in terms of scale and colour saturation, presenting a very convincing ensemble.
Lissa, Putri and Ryonen have made previous appearances in your manipulations, although this may be the first time they have all appeared together in the same picture?
This makes an attractive complement to Sclava's story, which contains a neat reference to the artist in the final, ironic paragraph. Nice work, Kam!
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I really like how the girl has a loincloth very similar to the ones you see in paintings or other "artists' renditions" of the bull-dancer girls of Crete. She fits right in. Beautiful.
As to figuring out whose body this is, considering how nice it is, the original owner is likely also upset to lose it.
More seriously, it's a beautiful composite figure - her head and body are perfectly proportioned and a lot of attention seems to have been paid to ensuring that the face and body have the same colouration and lighting blend (now I sound like Bob
). I would not have been able to tell that she was "more than one person" if you hadn't mentioned it. This, again, looks very simple, and sometimes it is, but for all the non-modders out there, these images are often the result of several hours of work, and a composite figure like "Alisa/Unknown" in this image might require several layers for blending texture, colour and lighting. CamCrux has done a superb job here to convince the viewer that all he had to do was nip down to Crete and snap this girl's picture.
He probably did a bit more work than that, considering the excellent result.
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You mean.... he didn't?
But It is a beautiful image. I love it, Cam! I dare say I'll be dreaming about her tonight!
Well, upon reflection I realize it's a bit of a strange statement to say he did more work than going down to Crete to take a photo. That sounds like considerable effort, in point of fact. But you know what I mean.