0 comments/ 16119 views/ 0 favorites Transgender Art By: Cal Y. Pygia Artists whose work includes transgender, transvestite, or transsexual themes are rare. In other articles, discuss the work of Christopher Leach ("Christopher Leach") and Kimberly Wilder ("Kimberly Wilder: An Assessment"), whose respective styles, if not subject matter, are vastly different, although both are exquisite illustrators and painters. Another's whose work includes such themes is the outsider artist Henry Darger, whose watercolors include prepubescent girls who have penises and testicles rather than vaginas. I also suggest that a few of the great Rene Magritte's surrealistic paintings may have transgender themes ("Magritte: A Transgender Reading"). Other artists, fine and otherwise, whose work includes transgender, transvestite, or transsexual themes are Bill Ward, Edward Black Kim, George Grosz, Marquis de Panasewicz, Siegfried Zademack, Alford Lawrence, Harriet Zabusky-Zand, and Romaine Brooks. Bill Ward drew comic book-style illustrations of the big-breasted, top-heavy female characters that were considered sexy in his day (the 1950s and 1960s). Especially adept at rendering leather and nylon stockings in pen and ink, he captivated fans by his illustrations of scantily dressed women with a penchant for appearing in lingerie. They were often engaged in humorous situations, for many of Ward's illustrations were used to set up punch lines which appeared as captions to his drawings. Toward the end of his career, his art began to include female dominatrixes and beautiful male transvestites. Much of his work was executed in black and white but has since been colorized. In one of Kim's works, the belly of a male torso joins that of a female torso; the heads of each are not shown, but the hands of both clasp one another's upper arms. Another painting features a female torso, shown from the shoulders to the tops of the thighs. Her hands are down, along her sides, and a red apple appears just below the center of the figure's breasts. Despite her breasts and feminine figure, she has testicles, from which a phallic serpent winds its way up her abdomen, its tongue flicking at the apple, an obvious allusion to the Edenic serpent that tempted Eve. German Dada and expressionistic artist George Grosz (1893-1959) is known for his caricatures of Berliners during the 1920s. A few of his paintings feature transvestite or transsexual themes. In one of these works, three erect penises jut from the lower belly and groin of a woman who stands, rather awkwardly, her left arm down, her right bent behind her head, with her dress up, over her breasts. The glans of the topmost penis is fully visible; the glans of the second, half-visible; and the glans of the third, invisible inside the foreskin. What significance the painting may have is uncertain, although it is definitely an arresting image. In a similar painting, another woman, her dress hiked up, around her hips, shows off the massive erection that juts from her pubes, just above a vagina-equipped vulva. Las Vegas' Marquis de Panasewicz paints strong, rather virile, Amazonian women, most of whom are dominant, sexually and otherwise, both over other women and, especially, over men. He is devoted to sadomasochistic bondage and discipline fetish art. In addition to painting in oils, he also draws with pencils and develops computer-generated art. His female figures look like Frank Frazetta's warrior women might look if they were to resort to long-time steroid use and bodybuilding. Often with cocks erect, male slaves serve their female superiors as if the males were merely beasts of burden, transporting the women in hand-drawn carts or upon their shoulders. The males are subject to castration, which is performed with detached efficiency by a warrior woman wielding a crescent-shaped, serrated blade. As punishment, the males are hung from their fettered wrists and beaten by women armed with whips. In one of the Marquis' illustrations, a female warrior with a Mohawk hairstyle and a physique resembling that of Arnold Schwarzenegger in his prime, stands behind a bent-over male who, half-suspended by his wrists from the ceiling, cords tying off his balls and wound tightly around his erection, which is secured to the floor by a chain attached to his glans, seems to wait, rather uncomfortably, to be sodomized by she thick, decidedly masculine penis, that the Amazon sports as if her virility has burst the boundaries of her femininity, transforming her into a buff transsexual. In a triptych, Ol auf Leinwand, German surrealist Siegfried Zademack ((1952- ) offers viewers a hermaphroditic angel. The left panel shows the tip of the figure's right wing, the right panel the tip of the figure's left wing, and the center panel the angelic figure herself and the rest of the wings. The figure stands in a pool, among lily pads, a row of grasses beyond, the full moon making a halo around her head. The wings, one perceives, in looking closer, are metal; moreover, they are strapped to the figure's chest by a harness. As such, they are technological artifacts, which suggests that, appearances to the contrary (the moon-halo, the mechanical wings, and the triptych itself, which is typically reserved for altar paintings designed as altar pieces), the angelic-looking figure is no angel, which raises the questions, of course, as to just who she is and why she is posing, however absurdly, as a divine messenger. They have been jury rigged, as it were, in a rather clumsy manner, and cords or ropes are draped at intervals across their length. In another painting, a sort of transgender twist on Rene Magritte's The Importance of Marvels or Megalomania, both of which telescope the sectioned segments of a female figure skyward. In the fashion of Chinese boxes, the thighs and pelvis, the top of which is open, contain the lower belly, which, also open, in turn, contains the upper abdomen and the breasts. In Megalomania, the upper abdomen and breasts ends the figure, but, in The Importance of Marvels, a small female head appears at the summit of the telescoped figure, her arms projecting through the armholes, as it were, which appear in the sides of the uppermost section--the one with the upper abdomen and breasts--of the figure. Zademark's painting is strikingly similar, although the female figure is comprised of only an upper and a lower half, albeit with a bearded man's head replacing the female's head and his masculine arms replacing her feminine limbs. Other differences include Zademark's inclusion of a breach in the top of the figure's left breast and the appearance of his genitals and thighs between the lower half of the bisected female figure in which he stands (the covered vulva and upper thighs) and the upper half of the form (the upper abdomen, breasts, shoulders, and neck). Alford Lawrence, like Darger, is an outsider artist. He died in 2005, and little is known concerning his personal life, although, according to Red China Magazine, he worked as a gas station attendant for most of his adult life after a stint in the U. S. Army. "His drawing series are exhaustive studies of numerous sexual themes," red China Magazine says. "One focuses on transsexuals wearing supernaturally sheer slips." Harriet Zabusky-Zand paints drag queens, to whom she refers as "flamboyant femme fatales." She says, "They personify a hyperbolic commentary on our concepts of feminine beauty and seductiveness," adding, "when we encounter them we are amused and confounded. Gender ambiguity subverts our codes and expectations of male and female roles." Romaine Brooks painted women in male dress. According to Wikipedia, "Brooks's conservative style led many art critics to dismiss her, and by the 1960s her work was largely forgotten. The revival of figurative painting since the 1980s and new interest in the exploration of gender and sexuality through art have led to a reassessment of her work, and she is now seen as a precursor of present-day artists whose works depict cross-dressing [sic] and transgender themes." Transgender Art: A Sampler It's not often that transgender art offers viewers a glimpse of a female-to-male transsexual. Usually, the transformation is in the other direction, with the loss of the vagina in favor of male genitals and the acquisition of female breasts. However, one image does reverse this trend, showing a female version of Star Wars' Darth Vader, and, I must say, he--or she--is quite lovely, in a dark and sinister way. Complete with helmet, cape, gloves, and boots, and holding the character's omnipresent light saber, the feminine version of the dark lord is otherwise naked, so that the viewer is treated to her bare breasts, abdomen, shaved cunt, and exposed thighs. Who can blame Luke Skywalker for undertaking a quest to find a father like her! Transgender--or, more specifically, transsexual--art is a favorite of mine, although, the Vader character aside, I do prefer the male-to-female to the female-to-male transformations that such drawings, paintings, and (more rarely) sculptures typically depict. In the hope of turning on others to this splendid visual treat, I review a few pieces here. One is not transsexual per se, but it got a rise out of me, nevertheless. It features a beautiful female nude, short of hair and well endowed of breast, straddling the gigantic cock that juts between her legs, from a gargantuan male groin. Astride the beautiful, circumcised erection, her back arched, she reaches her outstretched arms behind and above herself, to rest her palms against her mount's firm, muscular abs. The effect is to make it appear that the monster cock is her own as well as her man's, and the incongruity of her lovely female body and the enormous penis she rides is tremendously exciting. PETA pets would have a conniption were they to see the picture of the beautiful tranny stretched out upon her back, upper body reclining against a leopard-skin encased pillow and her lower body at rest upon a tiger skin! She looks toward the viewer, aware that she is, as it were, being watched, as she twiddles the nipple of her right breast between thumb and forefinger. Her other hand rests upon her left thigh, and her legs, bent at the knees, are spread wide to show off her thick, semi-erect cock as it lolls atop her generous pair of balls. All that this delightful auburn-haired seductress wears are a couple of strings of pink pearls and a fine chain anklet around each ankle. To further annoy the PETA police, a second lion shin serves as a cloth for a pedestal to her left. To her right stands an urn planted with flowers. She is an altogether lovely ladyboy, whose own sleek skin is enhanced by the contrasts of the leopard and tiger furs upon which she rests. If naked women can call attention to PETA's pet peeve (the use of fur as clothing or upholstery), lovely ladyboys can call equally well attention to the opposing point of view. Pamela Anderson, eat your aging heart out, bitch! I admire female breasts, especially when they're on ladyboys instead of ladies (who doesn't?), although I greatly prefer medium to small size knockers and am not opposed or offended even by bee-sting-size titties. I don't care for big boobs, though. There's something, well, too much to them. The wobbly pair that adorn the tranny in a picture that would otherwise be sexy take away some of the image's appeal, for me, at least, but, otherwise, I find it aesthetically pleasing and penis-friendly. Hands behind her head, she straddles another shemale who lies back, sideways, across a mattress. The tranny's raised arms allows the viewer a view of her underarm hair, which is both long and scraggly, a dark auburn in color, and sexy, as it adds to the incongruity of the whole, since women, whether transsexual or genetic, typically shave their pits. Another pleasant aspect of this picture is the way that the shemale's cock lies along the erect member of her paramour, so that, side by side, the pricks show the masculine aspects of the otherwise feminine couple, with the heads of the penises facing, as it were, opposite directions. The upright cock also indicates to the viewer how far it would be inside the straddling partner's ass were it inserted rather than merely awaiting the opportunity to impale the buttocks seated upon the hips above it (about to the level of the impaled party's pubes). A picture that shows a shemale straddling her orgasmic male partner, whose own cock is shoved up her ass looks much as if she is a witch, riding the prick that juts from her own groin, broomstick like, to a witches' Sabbath. Her head is thrown back, dark hair a wild halo, and she grins with evident ecstasy as she grips the shaft of her erection, as if it is about to take off, launching her into space. Outside, dark clouds gather in a night sky pierced with stars and long tapers stand, two on either side of the bed's headboard and the window seat that stands before the open window that lets the night--and its darkness--into the chamber. The subtle allusions to what could be witchcraft add to the picture's enchantment and suggest that the male partner's orgasmic expression, which is touched with both fear and wonder as well as ecstasy, might have a cause other than mere sexual bliss. A website known for its dickgirl art, the name of which, like panties and bras, is unmentionable on Literotica, features a model sheet that details the features typical of its dickgirl figures. The dickgirls hair, the sheet advises its artists, should be "smooth and straight." Since the hair is short, too, the directions might also have specified "and boyish." When the dickgirl stands on tiptoe, the instructions remind artists, some "folds" should be drawn on [the] pantyhose on the Achilles tendon." Likewise, when her foot is flat on the floor, there will still be "folds" at the front, bottom portion of the ankle. Another teaching point specifies that the figure's knees should be "inside a little bit," an awkward attempt to state that her stance is somewhat knock-kneed. When the dickgirl's "left shoulder is moved a bit forward," artists are informed, "her left breast should point toward the center a bit." Presumably, the opposite is true when her other shoulder is lifted. The model sheet pays quite a bit of attention to pantyhose and how its presence affects the appearance of the dickgirl's ass: "Pantyhose should have 2 seams. First one is around her hips and another one from the back to the front [around her perineum]." Moreover, "the first seam will make pressure and deform her butt a bit," and the cleavage of her buttocks, where it is covered by the pantyhose, "will be smooth." Amazingly enough, the model sheet--or this page, at any rate--doesn't offer any instructions as to how the penis, shown erect, or the testicles (hidden by the pantyhose) should be rendered. The model sheet is somewhat informative, although rather obvious in its instructions, and interesting because, presumably, it represents actual instructions or reminders that the company provides to its dickgirl artists. Line drawings of shemales can be fun, too, especially when they involve a fantasy element, as the one that depicts Alice of Wonderland fame, boobs on display and panties down to the middle of her thighs, lifting her skirt to show the caterpillar that she has a cock and pair of balls. Not to be outdone by his guest, the caterpillar himself sports not one, but five erect penises, one for each segment of his body, each complete with its own pair of balls. Who doesn't like an orgy, especially when its participants are shemales--and baldheaded ones, at that? In the last picture I'll review in this brief, albeit (hopefully) sexy assessment of transgender art features a frolicking foursome, all nude except for the black biceps-high gloves one participant wears and the white knee socks that another player sports. The gloved one knees, left hand upon the left buttock of a shemale who kneels, straddling a tranny who lies between her legs, on her back. The gloved one has a rock-hard monster cock, despite her having reached orgasm and unloaded a burden of cum all over the straddling tranny's lovely ass. The cum-covered shemale's cock is jammed into the open mouth of the ladyboy who lies supine between her legs, and the straddling transwoman masturbates the cock-sucking tranny's huge erection.. The strand of semen between her lips and the other's cock suggests that the cock-sucking session has also involved the same sort of sex--oral--that the supine bitch provides her. The fourth member of the foursome kneels, facing her three companions, massive cock in hand, masturbating to the unbridled sexuality displayed before her gaze. In the foreground, a string of black anal beads and a dildo-shaped vibrator indicate that the lovers have also employed sex toys to enhance their orgiastic sexual experience. There are lots of other shemale drawings and paintings, some featuring costumed crime fighters and superheroes--or heroines--such as transsexual versions of Wonder Woman and Supergirl or Canary and Black Cat; various transformed celebrities; interracial couples, sex demons who use their long tails to fuck themselves, trannies with impossibly large cocks and balls, transgender Buffy the Vampire Slayer girls (Buffy, Willow, and Dawn among them), and many others, but, for now, that's all, folks! Transgender Artist Kinky Jimmy The artwork of Kinky Jimmy (a pseudonym for Ken Jeremiassen, a Norwegian freelance illustrator who specializes in fantasy and erotic art) is all over the Internet. Well, not everywhere, really, but it is on a number of websites; it's easy to find. A skilled illustrator in the same league as Kimberly Wilder and Christopher Leach (both of whom I've written about in other articles), Jimmy's style is rather like that of the pinup artists of the past. His transsexual characters resemble the women drawn and painted by the likes of Rolf Armstrong, Joyce Ballantyne, Mark Blanton, Gil Elvgren, George Petty, Mel Ramos, and Alberto Vargas, except, of course, Jimmy's chicks have dicks. Most of his work (as it appears on the Internet, at least) is untitled, which requires that, to be discussed, it be described rather than simply named. Those pieces which do bear titles suggest some of the nature and scope of his transgender art: Christina's Mommy (shemale dominatrix), Muscle Bound (Xena-like shemale Amazon warrior), Sacrilege (a shemale bride's deflowering of a nun; described later in this article), Cat Fight (a wrestling match between two erect shemales), Pleasure Bound (a hogtied shemale in a BDSM scene), Boudoir Babe (a shemale in a pink corset and black leather thigh-high boots), From Behind (a shemale in position on a bed, waiting to be taken "from behind"), Famous Friends (celebrity shemales), Dark Meat (exceptionally well-endowed African-American shemale), Big Heart (a shemale with a large cock and huge breasts standing over a woman with small tits), and More Famous Friends (celebrity shemales who bear a close resemblance, in this case, to Paris Hilton and Britney Spears). As is the case with most artists' work, some recurring features of Jimmy's art stand out, as signatures, as it were, of his illustrations. His shemales all have boobs of a respectable size; truly monstrous, usually uncircumcised, cocks; and baseball-size testicles. Many of Jimmy's shemales, or "hermaphrodites," as he also calls his intersex figures, pose as individual models, some having ejaculated upon themselves; others are part of male-shemale or female-shemale couples. In one picture, a seated brunette shemale, shown in full color and wearing a collar and a pair of mesh stockings, grasps her sizeable balls as a substantial erection rises before her tummy, pointing to her ample breasts. From her chin and breasts, drips the semen of another shemale, who appears only as a shadowy figure, standing before the full-color, collared tranny. The shadowy shemale's penis is erect; her head and lower legs are not shown. Is the shadowy figure really present at all, or is she a dream girl, a figment of the other's imagination? Perhaps the full-color transsexual has masturbated to the fantasy of orally servicing another of her kind, and the semen that drips from her face and breasts is her own. If not, and the shadowy figure is really present, perhaps Jimmy's intent is to focus his viewer's attention upon the partner who has been ejaculated upon, rather than the shadowy figure who has ejaculated, suggesting that, for both the seated shemale and the viewer, what is significant is not the ejaculating party but the one who receives the ejaculate. Orally servicing another individual and receiving his or her semen is what matters, such a reading implies, for it is the fellatrix who is made feminine in the act of fellatio: to suck cock is to cast oneself in the feminine role; to be sucked is to adopt the masculine role. The presence of semen in one's face or on one's tits is confirmation of one's femininity as a shemale. In another of Jimmy's works, a shemale, the top of her red slip lowered, to reveal her right breast, down to its nipple and, at the same time, ridden up, above her hips, to show her thighs, her erect cock, and her balls, half-lies, supine, in an armchair, her raised legs spread, the left thigh of which she holds back. Wearing, besides the slip, only sunglasses and a pair of black high-heeled shoes, she grasps her cock in her fist. Jimmy's portrait has caught her, as it were, at the precise moment when orgasm gives way to ejaculation, and semen erupts from her erection. What is most interesting, perhaps, about this picture is the fact that both the armchair in which the figure lounges and the cartoon-style thought balloon above her head (filled with three exclamation points) is outlined, rather than fully delineated, in white, as if these items are themselves part of the figure's ejaculate. Perhaps this intriguing depiction of the figure's emotion (as it is represented in the thought balloon) and the armchair in which she masturbates as made of semen is meant to suggest that the sole purpose of the chair (and her psyche), at this moment, at least, is to provide a platform for the release of her sexual tension. It is, after all, we who give meanings to things, and such meanings can, and do, change from one moment to the next. During masturbation, a chair (and a mind) may serve only to serve the needs of the body. In such cases, rendering them as tentative objects made, as it were, of the very semen that one ejaculates drives home the point that they are no more substantial than their momentary (and changeable) purposes. Some of Jimmy's paintings simply depict transsexuals in a straightforward manner, as if they were models posing for portraits. In one, a blonde with full, firm, round, high tits and flowing hips has loosed the ties that joined the front of her leather trousers, thereby revealing a gargantuan erection, jutting from her hairless groin, above a pair of large, if somewhat indistinct balls. Another picture shows a brunette tranny, dressed in an open blouse, a black fishnet camisole, and a matching pair of black fishnet stockings. She clutches a fine specimen of manhood in her right fist with enough force to suggest she seeks to strangle the rigid, rearing organ. Most of Jimmy's shemales are Caucasian, but he has also drawn and painted a few trannies of other ethnicities. Many of these portraits seem to suggest that being transsexual is a sufficient condition, or state, in and of itself, to merit portrayal. However, other illustrations may make a political statement. One portrait shows a figure who displays an obvious, but exotic, mix of Caucasian and African-American features. A delightful combination of contraries, her union of opposites becomes a declaration of human and sexual equality. Her small breasts are sexy foils, as it were, to her oversize cock and balls. The hair on her head is long and straight, and contrasts dramatically with the kinky hair that adorns her pubes. Her arms are raised and her hands are behind her head. Her skin tone is highlighted by the open white blouse which, covering her arms and shoulders, hangs, like a drape, behind her back. Her right leg is lifted and bent sharply at the knee, while her right thigh is straight, a posture that reveals the strength of the muscles beneath the smooth contours of her thighs and claves. She is a beautiful woman, but, beneath her sleek, feminine exterior, lies a strength that may not be readily apparent, especially when she is fully clothed. The mix of strength and beauty, of power and grace, of virility and femininity is a heady combination of contrasting qualities synthesized in a Caucasian-African-American unity that defies both race and sex and a tribute to the ideal of multiculturalism and political, social, and sexual equality. Jimmy also draws and paints fantasy transsexuals. One is of a prehistoric-looking, straggle-haired brunette vampire with cloven feet and a serpent-like tail. Dressed in a leopard skin, with chains hanging from the nipples of her ample breasts, her snake-headed tail winding about her left arm, she clutches a staff or scepter carved with miniature heads, one atop the next, totem pole-fashion; a pair of phalli jut from below the chin of the lowest face. The seat of her garment is torn out, to reveal her buttocks and the uncut cock and pair of balls dangling between her thighs. What Jimmy intends this picture to represent is anyone's guess, but, certainly, this is a creature that one would not care to meet in a cave or anywhere else. In a few other fantasy pieces, Jimmy executes transsexuals whose penises are of a size that would be incredible even for Harry Reems or Long Dong Silver. In one, of a blonde shemale, for example, her testicles are the size of baseballs, and her erect penis, as thick as both her arms, rears to the level of her shoulders. It shoots quite a load, too, judging by the bukkake quantity of semen that has splattered her face, upper arms, breasts, belly, and hips. Jimmy also portrays sex acts, of course, in his art--mostly fellatio and anal intercourse, since his illustrations' and paintings' personae are transsexuals and transvestites. In one such drawing (Sacrilege), a groom is shocked to walk in on his shemale bride while, still in her bridal gown, the skirts of which she has hiked above her hips, she fucks a nun in her ass, their lovemaking taking place, according to the background, inside the very church in which, presumably, the shemale bride was just married. This drawing, like some of the others by Kinky Jimmy, attributes copyright to Ken Jeremiassen, Jimmy's real-life alter ego. Another painting--or painted illustration--shows twin African-American shemales. They stand close beside one another, hands around one another's waists, gargantuan cocks, as thick as their legs, rising to the height of their heads, their baseball-size testicles ejaculating an impossible quantity of semen. Their sperm splatters their faces, necks, and breasts, while, the latest, if not the last, spurt from each cock collide in midair above their erections, as if they are one in essence, as they are one in their sisterhood as shemale twins. Many of the artist's works have been collected in his first book, Gorgeous. . . and Hung!?, which is described as "a pin-up book of deliciously endowed females" who are "gorgeously painted," in poses depicting "raunchy action between she-males" who resemble "beautiful girls with huge tits, round asses and shlongs with. . . Balls [big enough] to make a bull proud." Note: Both Kimberly Wilder and Christopher Leach are themselves transvestites. As far as I know, although his artwork centers upon transsexual and transvestite characters and situations, Kinky Jimmy himself is neither a transsexual nor a transvestite.