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I heard the doorbell ring from the closet I was hiding in. I peeped through a small hole in the plasterboard wall that separated the closet I was in from the rest of the loft. I saw my wife and Solidea come in to meet her and greet her festively: I saw them converse for a few moments without being able to perceive their speeches distinctly; then Solidea helped Anna to take off a light jacket with a low-cut white sweater on it. I was about to witness one of the most exciting and sensual shows of my life, which I would never forget again.
It all started a couple of months earlier in my art gallery on the occasion of the vernissage for the opening of the Solidea paintings exhibition. Large-format oil paintings depicting female bodies, or details of these, never totally naked: a veil, hair, a piece of underwear, a pose does not totally discover everything, aware of the fact, in painting, that the real charm, the real eroticism must pass through the mystery. A refinement chased and found in the details of hands or feet with enamelled nails, backs and buttocks that with the play of light and shadows assume the plasticity of a Greek statue, breasts with almost palpable roundness and sometimes parts of the model's face but never the look, never the soul of the model that passes through the gaze.
My wife, who usually never attended the opening of exhibitions that I held at my gallery, that afternoon asked me to come with me. I had told her about Solidea's work, her way of painting and her great talent. I told her that she was one of the artists I wanted to focus on, confident of her potential and her critical and sales success. So her curiosity had led her to participate in a social event such as the opening of an art exhibition, despite her reserved and shy character.
She spent most of the afternoon alone and apart, now beside me now admiring the paintings on display on the walls. But its beauty did not escape those present and in particular Solidea. At a time when Anna was not beside me, Solidea came up to me and said "Bravo Marco, what a beautiful sexting and pretty wife you have chosen! Won't you introduce me to her?". I called Anna and introduced her to Solidea. But they didn't have much time to get to know each other and talk to each other since Solidea was disputed by every participant at the vernissage.
At the end of the afternoon, when Solidea and I were alone at the closed gallery commenting on the success of the opening, I suddenly heard this proposal "Marco I want you to give me permission to court your wife". I laughed at those words, but then I immediately added: "My wife doesn't like women, anyway if you think you can deny me, permission granted". Solidea replied "how can you be so sure that Anna doesn't like women?" I relaunched: "Listen Solidea if you think you can seduce my wife by courting her, you have not only my permission but also my complicity in order to succeed in your intention. But it's a lost game, believe me". Solidea, not at all discouraged by my words, concluded that speech: "Thank you Marco for the complicity will certainly be easier for me with your help to succeed in what I want. You know, your wife Anna reminds me of a portrait of Mariano Vargas that I recently saw. If I remember correctly it's called "Portrair de dame avec fleur". Of that portrait he has the same big black eyes, the same red and thin lips and the same whiteness of the skin. And the blonde hair as haunted as that of the sexting Vargas woman. I loved that portrait at first sight, just as your wife at first sight gave birth in me the desire to take her to bed".
The next day I received a phone call from Solidea: "So Marco, since you've made yourself an accomplice in my intent to court your little wife, why don't you invite me to dinner at your place one of these evenings?"
I talked to Anna about it and she seemed thrilled to have Solidea as our dinner guest. Her paintings had moved and impressed her very much, but at the inauguration, for too many people, she had not had the opportunity to ask her any questions, while she had many curiosity about her artistic work and the dinner would have been an excellent opportunity to talk to her without anyone else who could disturb them. It was agreed that Friday night that same week.
Solidea arrived with a bottle of wine and a gift for Anna: the catalogue of an exhibition by Mariano Vargas held in Milan. She opened the catalogue and immediately showed Anna "Portrair de dame avec fleur", telling her "I find you look amazingly similar". Anna laughed: "yes it's true, there is a certain resemblance".
We sat down at the table. Solidea, in turn, reminded me that evening in a surprising way of another female portrait: that of Fernand Toussaint called "Elegant Lady with music score". Well, I had at the table two splendid female portraits in the flesh, and for an art dealer it was a pleasure to see and a rare privilege.
I was enchanted in silence to listen and admire those two portraits in flesh and blood and converse with each other. Anna asked "why in your paintings you only depict female bodies"? It was perhaps the question that Solidea was most often asked, but she answered with a smile and politely: "I tried for some time to paint landscapes, flowers or trees. But the final sensation was not what I expected. An emotion that I find only in the bodies. Nothing is more seductive than a female body. It's sinuous, it's calamitous." "And how much of you is there in these female figures you paint"? continued Anna, very curious to know the essence of Solidea's art. "Very much. Narcissistically, I can say that in every portrait there is me." "How do you choose the models, according to their beauty"? "When I choose my models, not all of them are absolutely beautiful, they become perfect only on canvas. Mine is a search for perfection in details: a hand or a back that strikes me becomes the subject of my painting. I compose and break down the models according to the details. Many women painted in my paintings are the result of a puzzle: the back of one woman, the hair of another, the hands of another. This is how I pursue refinement". "How do you create the settings in your paintings"? "Everything is like a set. First the choice of the model, then the location, which is almost always my home. Then the clothes, sometimes a simple veil, sometimes a hair accessory (the most complicated part to paint). Then begins the search for the pose, never taken for granted. When everything looks perfect, I take a series of photos from which the painting will take shape".
Only rarely did I intervene in the close discussion between Anna and Solidea. Anna's questions and Solidea's answers were followed by a dialogue between the two women that was more friendly and less like an interrogation or an interview.
I knew perfectly well why Solidea was at dinner at our house that night and I knew that she would not leave without having had the chance to see Anna alone. So I wasn't surprised when I heard him addressing this invitation to my wife: "why doesn't Anna come one afternoon to visit me in my studio. You will be able to see how I work, where I set my paintings, the photographs I have taken of the models for the preparation of the canvases you have seen exhibited in the gallery and satisfy all your other curiosities"? "Gladly, answered Anna." Then she added: "What do you think Marco"? "I think it's a good idea" - I replied - "leave your mobile number to Solidea so she can call you to arrange a meeting in her atelier".
The evening with Solidea had put Anna in a very good mood and I perceived in her a certain excitement and a great curiosity for that invitation received from the painter. As soon as she was gone, Anna hugged me and kissed me: "I want to fuck, Marco" she said. We went to my room and she undressed me, almost uncorking my clothes. She knelt down in front of me and took my cock in her mouth. He slipped it back and forth between his lips until it got hard. Then he asked me to undress her and once I'd done it he pushed me on the bed and put his cock in my pussy. That was our favorite way to fuck: I lay down on my back and she rides my dick on top. I liked to look at her face while we were doing it, kiss her breasts, hold her hands tight to make her arch backwards and let her get more inside me. Until I could hear her panting more and more, screaming "fuck me" and finally coming with me. So it was that night too. Then she hugged me and kissed me and asked, "Do you like Solidea, would you like to fuck her?" I smiled and said, "Nonsense, I like fucking you." But I added: "And you like Solidea?" Anna stared at me, thought about it a little bit before answering "It fascinates me. She's a fascinating woman."
It all started a couple of months earlier in my art gallery on the occasion of the vernissage for the opening of the Solidea paintings exhibition. Large-format oil paintings depicting female bodies, or details of these, never totally naked: a veil, hair, a piece of underwear, a pose does not totally discover everything, aware of the fact, in painting, that the real charm, the real eroticism must pass through the mystery. A refinement chased and found in the details of hands or feet with enamelled nails, backs and buttocks that with the play of light and shadows assume the plasticity of a Greek statue, breasts with almost palpable roundness and sometimes parts of the model's face but never the look, never the soul of the model that passes through the gaze.
My wife, who usually never attended the opening of exhibitions that I held at my gallery, that afternoon asked me to come with me. I had told her about Solidea's work, her way of painting and her great talent. I told her that she was one of the artists I wanted to focus on, confident of her potential and her critical and sales success. So her curiosity had led her to participate in a social event such as the opening of an art exhibition, despite her reserved and shy character.
She spent most of the afternoon alone and apart, now beside me now admiring the paintings on display on the walls. But its beauty did not escape those present and in particular Solidea. At a time when Anna was not beside me, Solidea came up to me and said "Bravo Marco, what a beautiful sexting and pretty wife you have chosen! Won't you introduce me to her?". I called Anna and introduced her to Solidea. But they didn't have much time to get to know each other and talk to each other since Solidea was disputed by every participant at the vernissage.
At the end of the afternoon, when Solidea and I were alone at the closed gallery commenting on the success of the opening, I suddenly heard this proposal "Marco I want you to give me permission to court your wife". I laughed at those words, but then I immediately added: "My wife doesn't like women, anyway if you think you can deny me, permission granted". Solidea replied "how can you be so sure that Anna doesn't like women?" I relaunched: "Listen Solidea if you think you can seduce my wife by courting her, you have not only my permission but also my complicity in order to succeed in your intention. But it's a lost game, believe me". Solidea, not at all discouraged by my words, concluded that speech: "Thank you Marco for the complicity will certainly be easier for me with your help to succeed in what I want. You know, your wife Anna reminds me of a portrait of Mariano Vargas that I recently saw. If I remember correctly it's called "Portrair de dame avec fleur". Of that portrait he has the same big black eyes, the same red and thin lips and the same whiteness of the skin. And the blonde hair as haunted as that of the sexting Vargas woman. I loved that portrait at first sight, just as your wife at first sight gave birth in me the desire to take her to bed".
The next day I received a phone call from Solidea: "So Marco, since you've made yourself an accomplice in my intent to court your little wife, why don't you invite me to dinner at your place one of these evenings?"
I talked to Anna about it and she seemed thrilled to have Solidea as our dinner guest. Her paintings had moved and impressed her very much, but at the inauguration, for too many people, she had not had the opportunity to ask her any questions, while she had many curiosity about her artistic work and the dinner would have been an excellent opportunity to talk to her without anyone else who could disturb them. It was agreed that Friday night that same week.
Solidea arrived with a bottle of wine and a gift for Anna: the catalogue of an exhibition by Mariano Vargas held in Milan. She opened the catalogue and immediately showed Anna "Portrair de dame avec fleur", telling her "I find you look amazingly similar". Anna laughed: "yes it's true, there is a certain resemblance".
We sat down at the table. Solidea, in turn, reminded me that evening in a surprising way of another female portrait: that of Fernand Toussaint called "Elegant Lady with music score". Well, I had at the table two splendid female portraits in the flesh, and for an art dealer it was a pleasure to see and a rare privilege.
I was enchanted in silence to listen and admire those two portraits in flesh and blood and converse with each other. Anna asked "why in your paintings you only depict female bodies"? It was perhaps the question that Solidea was most often asked, but she answered with a smile and politely: "I tried for some time to paint landscapes, flowers or trees. But the final sensation was not what I expected. An emotion that I find only in the bodies. Nothing is more seductive than a female body. It's sinuous, it's calamitous." "And how much of you is there in these female figures you paint"? continued Anna, very curious to know the essence of Solidea's art. "Very much. Narcissistically, I can say that in every portrait there is me." "How do you choose the models, according to their beauty"? "When I choose my models, not all of them are absolutely beautiful, they become perfect only on canvas. Mine is a search for perfection in details: a hand or a back that strikes me becomes the subject of my painting. I compose and break down the models according to the details. Many women painted in my paintings are the result of a puzzle: the back of one woman, the hair of another, the hands of another. This is how I pursue refinement". "How do you create the settings in your paintings"? "Everything is like a set. First the choice of the model, then the location, which is almost always my home. Then the clothes, sometimes a simple veil, sometimes a hair accessory (the most complicated part to paint). Then begins the search for the pose, never taken for granted. When everything looks perfect, I take a series of photos from which the painting will take shape".
Only rarely did I intervene in the close discussion between Anna and Solidea. Anna's questions and Solidea's answers were followed by a dialogue between the two women that was more friendly and less like an interrogation or an interview.
I knew perfectly well why Solidea was at dinner at our house that night and I knew that she would not leave without having had the chance to see Anna alone. So I wasn't surprised when I heard him addressing this invitation to my wife: "why doesn't Anna come one afternoon to visit me in my studio. You will be able to see how I work, where I set my paintings, the photographs I have taken of the models for the preparation of the canvases you have seen exhibited in the gallery and satisfy all your other curiosities"? "Gladly, answered Anna." Then she added: "What do you think Marco"? "I think it's a good idea" - I replied - "leave your mobile number to Solidea so she can call you to arrange a meeting in her atelier".
The evening with Solidea had put Anna in a very good mood and I perceived in her a certain excitement and a great curiosity for that invitation received from the painter. As soon as she was gone, Anna hugged me and kissed me: "I want to fuck, Marco" she said. We went to my room and she undressed me, almost uncorking my clothes. She knelt down in front of me and took my cock in her mouth. He slipped it back and forth between his lips until it got hard. Then he asked me to undress her and once I'd done it he pushed me on the bed and put his cock in my pussy. That was our favorite way to fuck: I lay down on my back and she rides my dick on top. I liked to look at her face while we were doing it, kiss her breasts, hold her hands tight to make her arch backwards and let her get more inside me. Until I could hear her panting more and more, screaming "fuck me" and finally coming with me. So it was that night too. Then she hugged me and kissed me and asked, "Do you like Solidea, would you like to fuck her?" I smiled and said, "Nonsense, I like fucking you." But I added: "And you like Solidea?" Anna stared at me, thought about it a little bit before answering "It fascinates me. She's a fascinating woman."
