Anatomy of a Portrait

For weeks she'd been imagining the painting she would commission as a surprise for her husband. She'd find an artist who could work discretely, and that artist would have to be very good. Which would mean a large fee, so she'd have to come up with the money. She'd have to find the time to pose. But mostly, she'd have to come up with the courage to sit for the kind of painting she had in mind.

She imagined a somewhat risqué picture, just suggesting but not explicitly showing her sexual charms. Maybe she could show herself in a seductive but not totally revealing way. Maybe reclining on a sofa. Nude, of course, but perhaps with a wrap over over her shoulders to allow a hint of her breasts, maybe let just one nipple peek out, and possibly a hand casually resting between her legs to shield her pussy. But there would still be plenty of skin. She imagined the finished painting hanging in her husband's study, maybe over the fireplace, where he could privately lust for her whenever she wasn't there, to make him the envy of his friends who come by for their weekly poker night. The painting would be large, almost life-size. It would be elegant, as befits a successful career woman.

Angela and George had been married over twenty years. They were both in their forties and established in their careers, she as an airline pilot and he as a successful restaurant owner. She was away a lot, but when they were together they enjoyed over-the-top sex whenever her schedule allowed a few days together. They had two grown kids, both married and living in other parts of the country.

As she thought about her family, she considered her plans for the painting, realising that occasionally the children would visit and see it. But the painting would show nothing really sexual to embarrass her in front of the children, or to make them feel uncomfortable seeing it. Of course they knew their mother must have tits and a twat; they just wouldn't exactly see it in the painting. She felt good about her plan, and now addressed the challenge of finding a suitable artist.

She visited some galleries in town featuring local artists and took note of the quality and styles of their work. She got contact information for a few artists whose work she liked and that the gallery curators thought might be available for a commission. As she was about to call the first one on her list, she suddenly felt embarrassed over what she'd be asking for--a respectable professional woman asking to pose nude! And even if the conversation went well and one of the artists agreed to the work, she'd be lying naked in his or her studio for many hours. Well, she'd have the wrap over her, so she wouldn't be totally naked.

Getting up her courage, she called the first one. Before she even got to the nude part, this artist said he was too busy to take on new work for at least six months. So she worked her way down the list, eventually finding one with a private studio and who might be a good fit. This one even had a French name: Pierre, and Pierre even specialised in boudoir-type portraits! They arranged to meet at his studio the following week for an interview. She mentioned she wanted to be partially nude, so Pierre recommended that when it comes time to pose she should arrive not wearing tight clothing or undergarments, and to bring a robe.

Angela spent the next few days studying the paintings on Pierre's website, sneaking time between her flights. Those next few days also found her experiencing a heightened anticipation about posing nude, even though her intimate parts would be partially covered. But, would she be naked to Pierre's view until she covered her breasts? What about her pussy, until she placed her hand there? And her bush, which was now full--should she remove any of it? Maybe just trim it? All of it? Would it matter? What if she became aroused? Would it show? Would anyone else be in Pierre's studio, like an assistant? These questions spun around in her head, instilling fear and confusion. But she was determined to go through with it, as she really wanted this gift for her husband.

She was home for a few days, and took time to coyly ask George what parts of her body he liked the best. At forty-five and even after two kids, she was a very good looking woman. She carried herself with the confidence that only successful and self-assured women can pull off. She measured the space over the fireplace in his study.

She had to fly on the next two days, including an overnight, then the day for her initial visit to Pierre's studio arrived. While in the air she'd concentrated on her flying, but now her mind turned to what it will be like posing almost naked, and how much flesh she would dare show. Should she bring her own props? What about hair and makeup? Some tasteful jewelry? She knew that by dwelling on all these small matters she was really avoiding the main issue of taking off her clothes. She'd be naked.

Not sure if she'd remain clothed for this first meeting, she showered, trimmed just the edges around her bush, picked out some small items of jewelry, set her hair up into a tasteful twist to reveal her neck, and found a small satin shoulder wrap to cover her breasts. Then she drove herself to the address just outside of town, that Pierre had given her on the phone. For the entire drive she was aware of her arousal at the possibility of soon being nude, and was glad she wasn't wearing panties that would just get soaked. Her summer dress was so short that her bottom was directly on the leather seat, and she could feel her juices pooling there. Arriving at the modest country house, she was careful to wipe the wetness off the seat before sliding across it to get out of the car.

She gathered her things, straightened her dress, realised how wobbly her legs felt, imagined being naked inside this house, tried not to imagine being naked inside this house, and considered getting back into her car and speeding away, never to return. She took a few deep breaths, mustered the courage to proceed with her plan, and stepped up to the door. No doorbell, but soon her hesitant knocking was answered by a friendly woman a few years younger, who introduced herself as Josephine, greeting her in a slight foreign accent. Angela accepted the invitation to come inside, but now with a stranger's eyes on her she felt very naked without her underwear under the thin dress. She loved the erotic feeling, but was terrified that the younger woman might notice the fluid she knew was just now running down the inside of her thigh. It was embarrassing enough that her nipples made two sharp little bumps under the thin fabric.

Josephine showed Angela into the studio, where Pierre was thumbing through a sketchbook. He looked to be about fifty, sported the sort of beard expected of an artist, and as introductions were made Angela learned that Josephine was Pierre's fulltime mistress and sometime model. Looking around the studio, as soon as Angela noticed the modeling platform where she'd be naked, she felt the trickle of juices reaching all the way down to an ankle. Angela was mortified when Josephine offered her a tissue, and felt little relief when Pierre assured her that this was acceptable and to not be concerned. They had noticed! Would she able to go through with this? Should she just run out the door right now?

Drawn between modesty and her determination to surprise her husband with an intimate portrait of herself, she chose to stay. In spite of her humiliation, the portrait won. The three sat down in one corner of the studio, Angela taking a low comfortable chair facing the other two, who took the sofa. Conscious of her lack of underwear, she kept her knees together, although she realised the irony that she might soon be out of her dress anyway. Most of the discussion was about what sort of portrait she wanted, but Pierre and Josephine took this time to set Angela at ease. They turned to be a very pleasant couple who would take things slowly, and Angela liked them right away. Maybe being naked here wouldn't be so bad. Gradually becoming more relaxed, she noticed that her legs had loosened and her knees had drifted apart. She coolly eased them back together.

The artist and his mistress were in a long term relationship. He created the art, she managed the business. He occasionally taught classes in his studio, and, when needed, she was the model. They made their home together upstairs.

After some casual conversation, the three of them got down to business. Angela explained the airline's demands on her time, which days she helped her husband in his restaurants, the fee for the painting, and by what date she'd like to have it finished. She arranged to come back the next evening for her first sitting, but Pierre suggested that before leaving today she should try a few poses, still clothed, just so she could see what it's like to sit still and so he could make some quick sketches of her general shape and outline. As soon as she lay back on the divan set up on the modeling platform, she realised that in her short dress her pussy was open to view. She'd chosen the short dress because she thought it would come off easily, but right now she was supposed to be clothed and here she was, flashing a beaver shot across the room! She apologised for what she thought might be a breach of etiquette. Remembering how she'd originally imagined the portrait, she casually laid her left hand across her thighs, but not before she felt a rush of excitement and a surge of fluid. She felt so wet! Where was Josephine with the tissues now? Pierre politely turned away after handing her a small towel.

This time, rather than be humiliated, Angela decided to initiate an open discussion about the outward signs of her arousal, explaining that she was highly sexual and wet most of the time. Pierre again assured her that he was okay with it, so she decided to just go with the flow, literally. Next they discussed her questions about the shoulder wrap to partially conceal her breasts, any jewelry, and her pubic hair. He reminded her that this was her portrait, and she could present herself however she wanted. He suggested that she think about what parts of her body she was most pleased with, and Josephine, now back in the studio, offered that she should pose the way her husband likes to see her just before he makes love to her.

While Pierre busied himself with some brushes, Josephine asked about Angela's pubic hair. Without showing it again, Angela told Josephine she had a full but slightly trimmed bush, and as a grown woman she didn't want the look of a pre-teen girl. So Josephine suggested she keep it that way until they got into posing, to see if she'd like to trim it further.

Now with all her questions answered, price and schedule set, Angela bid her new acquaintences adieu until their meeting the next day. She felt fully at ease with both Josephine and Pierre. Though they had both gotten glimpses of her pussy, Angela still wondered how she would feel being fully nude. Tomorrow would tell. But she was still embarrassed that her arousal had been noticed.

That night Angela and George made slow and passionate love with each other. They spent the next morning lounging around naked, and she secretly noted how he responded to the various ways she positioned herself and which of her parts his eyes dwelled on most.

After George left to tend one of his restaurants, Angela showered, grabbed her robe, and left for the studio. Today she'd be posing nude. She was glad she'd taken the time yesterday to get to know her artist and his helper. She was still a little nervous as she parked and knocked on the door and was shown in to the studio. She felt a tingle in her pussy as soon as she spotted the easel supporting the canvas that would soon start to display her naked image.

Angela, Pierre, and Josephine sat down to discuss the pose. Angela sheepishly revealed the orientation of her body that her husband seemed to favor: leaning back on pillows with her legs forward. Setting some pillows on a soft flat surface resembling a bed, they asked her to show them that position. Still in her dress, she climbed up onto the bed and leaned back on the pillows, She put one hand up on the pillow and rested the one with her wedding rings on the inside of one thigh. Now she was told to get down, to be replaced by Josephine taking up the same position. Pierre had Angela stand in his own place by the easel so she could see what the pose looked like. After adjusting Josephine's arms and legs to emulate Angela's, they achieved the pose that Angela thought most enticing to her husband. Pierre took a few reference photos and Josephine hopped down.

Now Angela knew that nothing more was going to happen until she removed her dress and reclined, nude, on the bed. She'd have to strip off. But she didn't know how to do it. Just whip the dress over her head, right in front of Pierre and Josephine? First ask them to look away? Go outside and come back in naked? Sensing her confusion, Josephine suggested she go behind the screen set up in the far corner and come out wearing the robe. So that's what she did, except that crossing back to the bed she felt very conspicuous. She stared at the bed, fiddled with the belt of her robe, looked all around the studio, then felt her knees about to give way and knew she'd best lie down fast. She steadied herself onto the bed, still with the robe around her. She smiled sheepishly as Pierre and Josephine waited for her to, literally, disrobe. They all just looked at each other, waiting.

Angela felt very slick between her thighs and wanted to wipe herself off before showing herself, so she used the excuse that she needed to pee. That also would buy her a few minutes. After visiting the toilet they had pointed out, she returned to Pierre and Josephine, pretended they weren't there, took a deep breath, and let her robe drop to the floor. Now she was naked. Her heart was pounding. Her pussy was flowing. The world was spinning around her, but she knew where she was. Ignoring the flow of her juices, she stretched out on the bed and rested for a moment, before telling herself she was now a nude model and needed to act like one. Pierre directed her in placing her torso and limbs correctly, until she was in a comfortable pose. She reached for the satin sash she'd brought for draping over her breasts. Josephine helped her arrange it to expose the side of one breast, with its nipple making a sharp point under the fabric, the nipple of the other breast just peeking out from the edge of the sash.

As this was her first time posing, Angela wasn't used to keeping still, and each time she shifted the sash slipped off her nipples. Finally PIerre suggested she put the sash away, and he could paint it in later. He went on to explain that even if it stayed in place it would keep him from properly rendering the shape of her breasts under the fabric and the painting would lack depth. Angela reluctantly agreed, but within minutes she came to appreciate the freedom and excitement of exposing her breasts to the air. And, to Pierre, but she had to put that thought away.

So now she was lying there completely naked, exposing much more than she'd planned. Without the sash her breasts were fully on display, with her nipples tight and extended from arousal. Her vaginal opening was somewhat obscured by pubic hair, and her left hand hid her labia and the shape of her vulva. Maybe she should consider letting her breasts show in the final painting. She'd consider that later. For now she had overcome her some of her shyness of being naked, and resolved to enjoy the uniqueness of the situation. Pierre had told her the painting would take at least six sittings of two hours each. She'd be lying here nude for twelve hours or more, so she might as well enjoy it. She was already enjoying her nakedness and began thinking of ways to make the painting even more enticing for her husband.

Josephine noted Angela's abundance of pubic hair and suggested that some be removed. She said Angela might want to keep only the hair that her hand would cover; that way she'd keep enough to maintain the dignity of a mature woman yet not interrupt the smooth clean lines of her portrait. So Angela agreed that before coming back the next day she'd remove most of her pubic hair. Exhausted from an hour of posing but mostly from the intimate discussion of her privates, she called it a day and left. That evening she told her husband she wanted to shop for a bathing suit and that the new styles might require that she trim her pussy. He offered to help, and the two of them created a romantic but mostly erotic event to get the job done. Only a small area just above her vaginal opening remained covered with her lush, thick pubic hair; her labia and surrounding skin were now totally bare.

All the next day she marvelled at the clean feeling around and under her pussy, and loved the flow of the car's air conditioning coming up under her dress on the drive to the studio. She spread her legs as wide as she could and still be able to operate the pedals. She was a few minutes early, but found the house open. Letting herself into the studio, she was surprised to find a nude Josephine on the modeling platform, surrounded by half a dozen artists being instructed by Pierre. They were just finishing up a scheduled class. Pierre invited Angela to stay and observe the remaining few minutes of the session, so she took a seat. She studied Josephine's form, and in her mind she compared the smooth appearance of Josephine's pubic mound with the small but thick patch remaining on her own mound.

Josephine's labia were fleshy and prominent, unlike her own lips that suggested flower petals. Josephine's slit was a closed crease, unlike her own that was usually slightly open. But Angela would use her hand for modesty.

After being introduced to Angela as a new client, the students left and she was alone again with Pierre and Josephine, who by now had wrapped her nakedness in a robe. After the three of them rearranged the furniture, Angela slipped out of her dress and went directly to the pose, skipping her robe. At first she kept her legs together, then finally opened her newly coifed pussy to their view. Under the safety of her left hand, her bare lips were partly open. If she decided to show more, she could decide later; meanwhile they could proceed with the rest of the painting.

As Angela tried to hold her pose, Pierre noted that she seemed tense and rigid, and the tenseness would come through in the painting. He suggested she find ways to relax so her portrait would project the calm demeanour she'd want her husband to see. Pierre had her break the pose and get up to walk around the studio without her robe just to loosen up, while he and Josephine went outside. A while later they resumed the pose, but Angela was still stiff, so they ended that day's session and agreed to meet again in four days, after Angela would be back from a couple of cross-country flights.

Back home from flying, Angela received a phone call from Pierre suggesting a possible way to deal with her tenseness from being nude: she could just throw modesty to the wind and pose for his sketching class the next day. That would break down all her barriers about being naked, and she might then feel freer in her portrait pose. At first Angela refused, but then agreed to at least discuss it. She learned that the poses would all be "gesture" poses of her own choosing. She'd hold herself in one position for about a minute, then shift to some other position for the next minute, and so on. She'd be naked, but by choosing her posture and how she held her limbs she could control how much or how little to show. And the whole session would be only fifty minutes with a ten minute break in the middle. Pierre said he'd used this device with other private clients and it worked well. For the sake of the portrait, she agreed to try it.