Popover Dark

มีเวอร์ชันใหม่พร้อมให้บริการ คุณต้องการอัปเดตหรือไม่?

เว็บไซต์นี้สำหรับผู้ใหญ่เท่านั้น

การเข้าสู่เว็บไซต์นี้ถือว่าคุณยืนยันว่าคุณมีอายุ 18 ปีขึ้นไป การใช้งานเว็บไซต์นี้ถือว่าคุณยอมรับข้อกำหนดในการให้บริการและนโยบายความเป็นส่วนตัวของเราเกี่ยวกับวิธีที่เรารวบรวมและใช้ข้อมูลของคุณ
masterpiece, art, William-Adolphe Bouguereau, Alexandre Cabanel, Herbert James Draper, painting, 19th century, louvre, (ultra detailed face:1.4), 8k, (aphrodite:1), (greek_goddess:1), blowjob, penis in mouth, ancient greece, orange hair, mascara, heavy makeup, (tons of cum:1.4), bukkake, facial, cum, breasts, stomach, covered, in, flower crown, perfect, ocean, beach, oil painting, <lora:facialized:1.3>, <lora:bouguereau-01:.5> masterpiece, art, William-Adolphe Bouguereau, Alexandre Cabanel, Herbert James Draper, painting, 19th century, louvre, (ultra detailed face:1.4), 8k, (aphrodite:1), (greek_goddess:1), blowjob, penis in mouth, ancient greece, orange hair, mascara, heavy makeup, (tons of cum:1.4), bukkake, facial, cum, breasts, stomach, covered, in, flower crown, perfect, ocean, beach, oil painting, <lora:facialized:1.3>, <lora:bouguereau-01:.5>
noglogwyg
คุณสามารถสร้างรูปภาพใหม่โดยใช้ตัวละครเดียวกัน

masterpiece, art, William-Adolphe Bouguereau, Alexandre Cabanel, Herbert James Draper, painting, 19th century, louvre, (ultra detailed face:1.4), 8k, (aphrodite:1), (greek_goddess:1), blowjob, penis in mouth, ancient greece, orange hair, mascara, heavy makeup, (tons of cum:1.4), bukkake, facial, cum, breasts, stomach, covered, in, flower crown, perfect, ocean, beach, oil painting, <lora:facialized:1.3>, <lora:bouguereau-01:.5>

noglogwyg

รูปภาพทั้งหมดถูกสร้างโดยปัญญาประดิษฐ์ของเรา เปิดรูปภาพ กดปุ่ม ทำซ้ำ - สร้างเวอร์ชันของคุณเอง! ความคล้ายคลึงใด ๆ ระหว่างเนื้อหาที่สร้างขึ้นบนเว็บไซต์นี้กับคนจริงเป็นบุคคลธรรมชาติทั้งหมด ทุกบุคคลที่สร้างขึ้นโดยปัญญาประดิษฐ์เป็นผู้ใหญ่!
an oil painting by Italian painter Titian, depicting a nude young woman, traditionally identified with the european goddess Venus, reclining on a couch or bed in the sumptuous surroundings of a Renaissance palace. The painting's subject stares straight at the viewer, not embarrassed by her nudity. In her right hand, she holds a posy of roses, while she holds her other hand over her genitals. An innuendo of sexual arousal pervades the picture, which Titian emphasizes through several formal devices. The woman’s curvaceous physique is set against a matrix of rectilinear forms, bed, wall partition, window, column, chest, wall hangings, and gridded pavement. Their rigid lines contrast with her body, rendered in fluid brushstrokes that blur at the edges. Titian’s virtuosity with the technique of oil on canvas is evident in her flesh, modeled through subtle gradations in tone and color overlaid with translucent glazes. This simulates ivory skin of exceptional suppleness that flushes pink at her cheeks, hands, knees, and feet. Set against pearly sheets, her bed cushions are rendered in crimson as if also signaling her passion and inflamed desire, presumably from the entrance of her lover for whom the viewer acts as surrogate. Sadly, much of the original impasto is lost, which once enhanced the tactile qualities of fabric and flesh. The brightly-lit figure and bed project into the foreground and tilt toward the picture plane in slightly foreened perspective, enhancing the sense of invitation to viewers. Titian leaves no doubt that the woman’s pelvis is the focal point of the composition. At one level, Venus’s covering of her genitals with her hand involves an erudite allusion to ancient Greek and Roman sculptures of the Venus pudica, (“modest Venus”), known in Titian’s time through dozens of copies in various sizes and media. Like her classical model, the pose of Titian’s figure ironically emphasizes rather than conceals her sexual organs. Yet unlike the Venus pudica, Titian’s nude appears to be contracting her fingers in a caress—instead of merely hiding her genitalia from view. Titian ly accentuates this action by balancing the twist of her left hand with the knotted draperies in the upper left corner— a visual rhyme lending a further erotic charge. Some modern scholars see the Venus of Urbino as nothing more than a sexy pinup for elite clientele. Others reason that such a label unfairly judges the image according to modern sexual paradigms. For social historians of art, dismissing the picture as mere pornography ignores its more complex functions as a marriage picture rooted in sixteenth-century customs for Italian brides and grooms. this matrimonial context explains the woman’s seductive glance and gesture of masturbation, both of which anticipate the husband in the bridal chamber and consummation of marriage.
woman, a winged, nude, goddess-like figure. The nude female figure is realistically sculpted in high-relief. Her eyes, beneath distinct, joined eyebrows, are hollow, presumably to accept some inlaying material – a feature common in stone, alabaster, and bronze sculptures of the time, but not seen in other Mesopotamian clay sculptures. Her full lips are slightly upturned at the corners. She is adorned with a four-tiered headdress of horns, topped by a disk. Her head is framed by two braids of hair, with the bulk of her hair in a bun in the back and two wedge-shaped braids extending onto her breasts. The stylized treatment of her hair could represent a ceremonial wig. She wears a single broad necklace, composed of squares that are structured with horizontal and vertical lines, possibly depicting beads, four to each square. This necklace is virtually identical to the necklace of the god found at Ur, except that the latter's necklace has three lines to a square. Around both wrists she wears bracelets which appear composed of three rings. Both hands are symmetrically lifted up, palms turned towards the viewer and detailed with visible life-, head- and heart lines, holding two rod-and-ring symbols of which only the one in the left hand is well preserved. Two wings with clearly defined, stylized feathers in three registers extend down from above her shoulders. The feathers in the top register are shown as overlapping scales, (coverts), the lower two registers have long, staggered flight feathers that appear drawn with a ruler and end in a convex trailing edge. The feathers have smooth surfaces, no barbs were drawn. The wings are similar but not entirely symmetrical, differing both in the number of the flight feathers and in the details of the coloring scheme. Her wings are spread to a triangular shape but not fully extended. The breasts are full and high, but without separately modelled nipples. Her body has been sculpted with attention to naturalistic detail, the deep navel, structured abdomen, "softly modeled pubic area" the recurve of the outline of the hips beneath the iliac crest, and the bony structure of the legs with distinct knee caps all suggest "an artistic skill that is almost certainly derived from observed study".
woman, shaved pussy, pussy, covered in cum, a winged, nude, full-frontal nude goddess-like figure. The nude female figure is realistically sculpted in high-relief. Her eyes, beneath distinct, joined eyebrows, are hollow, presumably to accept some inlaying material – a feature common in stone, alabaster, and bronze sculptures of the time, but not seen in other Mesopotamian clay sculptures. Her full lips are slightly upturned at the corners. She is adorned with a four-tiered headdress of horns, topped by a disk. Her head is framed by two braids of hair, with the bulk of her hair in a bun in the back and two wedge-shaped braids extending onto her breasts. The stylized treatment of her hair could represent a ceremonial wig. She wears a single broad necklace, composed of squares that are structured with horizontal and vertical lines, possibly depicting beads, four to each square. This necklace is virtually identical to the necklace of the god found at Ur, except that the latter's necklace has three lines to a square. Around both wrists she wears bracelets which appear composed of three rings. Both hands are symmetrically lifted up, palms turned towards the viewer and detailed with visible life-, head- and heart lines, holding two rod-and-ring symbols of which only the one in the left hand is well preserved. Two wings with clearly defined, stylized feathers in three registers extend down from above her shoulders. The feathers in the top register are shown as overlapping scales, (coverts), the lower two registers have long, staggered flight feathers that appear drawn with a ruler and end in a convex trailing edge. The feathers have smooth surfaces, no barbs were drawn. The wings are similar but not entirely symmetrical, differing both in the number of the flight feathers and in the details of the coloring scheme. Her wings are spread to a triangular shape but not fully extended. The breasts are full and high, but without separately modelled nipples. Her body has been sculpted with attention to naturalistic detail, the deep navel, structured abdomen, "softly modeled pubic area" the recurve of the outline of the hips beneath the iliac crest, and the bony structure of the legs with distinct knee caps all suggest "an artistic skill that is almost certainly derived from observed study"., <lora:cohf:.3>
masterpiece, art, William-Adolphe Bouguereau, Alexandre Cabanel, Herbert James Draper, painting, 19th century, louvre, (ultra detailed face:1.4), 8k, (aphrodite:1), (greek_goddess:1), ancient greece, orange hair, mascara, heavy makeup, (tons of cum:1.4), bukkake, facial, cum, on, face, breasts, stomach, covered, in, flower crown, perfect, ocean, beach, <lora:facialized:1.3>, bgrtpainting, <lora:bouguereau-01:.5>
masterpiece, art, William-Adolphe Bouguereau, Alexandre Cabanel, Herbert James Draper, painting, 19th century, louvre, (ultra detailed face:1.4), 8k, (viking:1), (norse_queen:1), Valkyrie, blowjob, penis in mouth, norse, orange hair, mascara, heavy makeup, (tons of cum:1.4), bukkake, facial, cum, breasts, stomach, covered, in, flower crown, medieval, holding sword, perfect, snow, outdoors, oil painting, <lora:facialized:1.3>, <lora:bouguereau-01:.5>
masterpiece, art, William-Adolphe Bouguereau, Alexandre Cabanel, Herbert James Draper, painting, 19th century, louvre, (ultra detailed face:1.4), 8k, (viking:1), (norse_queen:1), Valkyrie, blowjob, penis in mouth, norse, white hair, mascara, heavy makeup, (tons of cum:1.4), bukkake, facial, cum, breasts, stomach, covered, in, flower crown, medieval, blue woad bodypaint, blue woad tattoo, holding sword, perfect, snow, outdoors, oil painting, <lora:facialized:1.3>, <lora:bouguereau-01:.5>, licking, my, dick, <lora:licking_my_dick.sd.v1.2:.4>
masterpiece, (perfect lighting:1.4), (ultra detailed face:1.4), (ultra high detailed outfit:1.4), 8k, (witch outfit:1), (high resolution:1.4), (18 year old genie girl:1.4), purple hair, mascara, heavy makeup, (tons of cum:1.4), bukkake, <lora:facialized:1>, facial, cum, on, face, breasts, stomach, covered, in, perfect, <lora:Facials:1>
masterpiece, art, William-Adolphe Bouguereau, Alexandre Cabanel, Herbert James Draper, painting, 19th century, louvre, (ultra detailed face:1.4), 8k, (aphrodite:1), (greek_goddess:1), blowjob, penis in mouth, ancient greece, orange hair, mascara, heavy makeup, (tons of cum:1.4), bukkake, facial, cum, breasts, stomach, covered, in, flower crown, perfect, ocean, beach, oil painting, <lora:facialized:1.3>, <lora:bouguereau-01:.5>
masterpiece, (perfect lighting:1.4), (ultra detailed face:1.4), 8k, (aphrodite:1), (greek_goddess:1), (high resolution:1.4), ancient greece, pauldrons, black hair, mascara, heavy makeup, (tons of cum:1.4), bukkake, facial, cum, on, face, breasts, stomach, covered, in, flower crown, perfect, beach, outdoors, <lora:facialized:1.3>, <lora:Facials:1.3>
an oil painting by Italian painter Titian, depicting a nude young woman, traditionally identified with the goddess Venus, reclining on a couch or bed in the sumptuous surroundings of a Renaissance palace. The painting's subject stares straight at the viewer, not embarrassed by her nudity. In her right hand, she holds a posy of roses, while she holds her other hand over her genitals. An innuendo of sexual arousal pervades the picture, which Titian emphasizes through several formal devices. The woman’s curvaceous physique is set against a matrix of rectilinear forms, bed, wall partition, window, column, chest, wall hangings, and gridded pavement. Their rigid lines contrast with her body, rendered in fluid brushstrokes that blur at the edges. Titian’s virtuosity with the technique of oil on canvas is evident in her flesh, modeled through subtle gradations in tone and color overlaid with translucent glazes. This simulates ivory skin of exceptional suppleness that flushes pink at her cheeks, hands, knees, and feet. Set against pearly sheets, her bed cushions are rendered in crimson as if also signaling her passion and inflamed desire, presumably from the entrance of her lover for whom the viewer acts as surrogate. Sadly, much of the original impasto is lost, which once enhanced the tactile qualities of fabric and flesh. The brightly-lit figure and bed project into the foreground and tilt toward the picture plane in slightly foreened perspective, enhancing the sense of invitation to viewers. Titian leaves no doubt that the woman’s pelvis is the focal point of the composition. At one level, Venus’s covering of her genitals with her hand involves an erudite allusion to ancient Greek and Roman sculptures of the Venus pudica, (“modest Venus”), known in Titian’s time through dozens of copies in various sizes and media. Like her classical model, the pose of Titian’s figure ironically emphasizes rather than conceals her sexual organs. Yet unlike the Venus pudica, Titian’s nude appears to be contracting her fingers in a caress—instead of merely hiding her genitalia from view. Titian ly accentuates this action by balancing the twist of her left hand with the knotted draperies in the upper left corner— a visual rhyme lending a further erotic charge. Some modern scholars see the Venus of Urbino as nothing more than a sexy pinup for elite clientele. Others reason that such a label unfairly judges the image according to modern sexual paradigms. For social historians of art, dismissing the picture as mere pornography ignores its more complex functions as a marriage picture rooted in sixteenth-century customs for Italian brides and grooms. this matrimonial context explains the woman’s seductive glance and gesture of masturbation, both of which anticipate the husband in the bridal chamber and consummation of marriage.
woman, a winged, nude, goddess-like figure. The nude female figure is realistically sculpted in high-relief. Her eyes, beneath distinct, joined eyebrows, are hollow, presumably to accept some inlaying material – a feature common in stone, alabaster, and bronze sculptures of the time, but not seen in other Mesopotamian clay sculptures. Her full lips are slightly upturned at the corners. She is adorned with a four-tiered headdress of horns, topped by a disk. Her head is framed by two braids of hair, with the bulk of her hair in a bun in the back and two wedge-shaped braids extending onto her breasts. The stylized treatment of her hair could represent a ceremonial wig. She wears a single broad necklace, composed of squares that are structured with horizontal and vertical lines, possibly depicting beads, four to each square. This necklace is virtually identical to the necklace of the god found at Ur, except that the latter's necklace has three lines to a square. Around both wrists she wears bracelets which appear composed of three rings. Both hands are symmetrically lifted up, palms turned towards the viewer and detailed with visible life-, head- and heart lines, holding two rod-and-ring symbols of which only the one in the left hand is well preserved. Two wings with clearly defined, stylized feathers in three registers extend down from above her shoulders. The feathers in the top register are shown as overlapping scales, (coverts), the lower two registers have long, staggered flight feathers that appear drawn with a ruler and end in a convex trailing edge. The feathers have smooth surfaces, no barbs were drawn. The wings are similar but not entirely symmetrical, differing both in the number of the flight feathers and in the details of the coloring scheme. Her wings are spread to a triangular shape but not fully extended. The breasts are full and high, but without separately modelled nipples. Her body has been sculpted with attention to naturalistic detail, the deep navel, structured abdomen, "softly modeled pubic area" the recurve of the outline of the hips beneath the iliac crest, and the bony structure of the legs with distinct knee caps all suggest "an artistic skill that is almost certainly derived from observed study".