The overall symmetry of the image contrasts with the slight asymmetries of the antique car’s handmade chassis. For example, the sway bar between the front wheels does not form a perfect arc, and the lines of the grill are not completely straight.

Small touches of light glow on several regions of the image. The edge of the driver’s-side fender is one example. The blonde hair of the woman above catches the same illumination. A single side mirror twinkles against the dark background. Each piece of chrome glints, too.

The composition is rich with texture. The bumper and car panels contain cracks and flakes of paint. The rough and oil spotted floor has a distinct pattern. The tread of the tires repeat their zig-zig lines. These are all in contrast with the wandering lines of the tree branches.

The positioning of the figures is neither provocative nor modest. They portray sensuality with an ease that is as intriguing as it is carefree.

This vintage Ford pickup truck with a V8 engine is a bit of Americana. The classic curves of the front fender and grill, and the low roofline harken to a time of hot rod culture in America.

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This figurative art photography combines pinup with figure portraiture. Two women stand unclad with two machines for dispensing sources of energy. A vintage coke machine and a gas pump are positioned an arm’s length apart.

A mahogany complected woman with brunette hair poses in front of the Coke machine to the left of center. She occupies much of the space in front of the vending unit, with her back to the viewer. Her head is turned to show part of her face, which gazes in the direction of a second nude figure, standing sideways to us, braced between both machines. Her legs are crossed at the knee and her back heel is lifted with her toe hovering off the ground.

Her lifted heel and crossed knee are just two of many small gestures of activity throughout her body. Her posterior is angled low on the left and high on the right in sequence with her relaxed left leg and taut right leg. The musculature of her arms and back are similarly well-defined.

A fair-complected woman with blonde hair bridges the gap between the two machines. She stands roughly in the center of the image. She is decidedly static, in contrast to the first figure. One heel and her hindquarters are pressed against the gas pump. Her left hand and right arm are braced atop the Coke machine.

Both figures sport short hairstyles and high heeled shoes.

Hues of orange, rose, and cool blue-grays dominate the background. Yellow lines on the floor extend from the bottom edge of the picture to the automobile in the background. The lines converge toward an unseen vanishing point in the distance.

A faded glass globe proclaims Phillips 66 Bengal Green Gasoline, atop the Tokheim Flite-Fuel gas pump. The adjacent Coke machine bears the distinctive red and white colors, although the logo is hidden. The top quarter of the machine is painted white and the lower portion is faded red. Rust and flaking paint are apparent on the trim, corners, and various panels, which give the artwork a retro feel.

In melding the pinup motif with nude portraiture, this figurative art photography presents various aesthetic and compositional elements along with narrative elements to appeal to both the spirit and intellect of the art photography collector.

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The image is curious for many reasons. The positioning of the figure to the mechanical apparatus is not only whimsical, it sparks the viewer’s curiosity. The position of the head near the bottom of the frame is unorthodox as well.

One might consider this nude photograph to be a reaction to the classic pinup theme. All of the components are there: a comely woman, an element of allure in her attitude, and a prototypical masculine curio in the form of the motorcycle. Nonetheless, the concept has been turned upside down, literally. The floor is strewn with oil and dirt, the pose is only vaguely provocative, and what remains are only remnants of sensuality.

The woman’s mascara-clad eyelashes are distinct against her cheeks. The curves of her chest and hips are prominent. Not to mention her luxurious hair, curiously dazzling against the grimy floor.

Perhaps the most compelling visual aspects of this photograph are certain areas of tonal contrast. In the nude woman’s hair we find a range from nearly pure white to black, including a shine that dances across the wavy strands. In the pitted chrome of the machine, we see darks and lights sprinkled next to each other. The shadows on her body never quite reach into the dark tones, and texture is visible throughout.

Lines lead the eye towards the top of the image. The line in the concrete floor converges with nude woman’s outstretched limbs. The pipes and  frame of the motorbike meet near this juncture as well. However, for all the dynamic effect of guiding the eye up, one is prone to continue roving the entire trove of visual information.

Rendering the scene in monochrome tones of black and white is a common attribute of artistic nude photographs.

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The protagonist displays a defined and developed musculature. She looks in the direction of the viewer, just short of making eye contact. Her expression is ambiguous, perhaps expressing attention that is split between the task at hand and her immediate surroundings.

Her thighs rest against the nose of the car, making contact just above her knee. This stance, combined with her expression, impart a candid sense to this otherwise eccentric performance.

Close behind the nude woman and the car are rich red vertical panels. The handle of the dipstick is a matching red color. The background structure includes both vertical and horizontal lines which align with the edges of the picture. The setting is outdoor, and hints of the surroundings beyond peek through gaps between the panels and the edge of the frame. A house, a tree, and the sky imply a suburban location.

In addition to the colors of her skin and hair, the scene includes saturated blue, red, and green. The color of her blue boots is echoes in the reflection of blue sky along the edge of the raised hood. The blue hues are more intense than the other colors in the photograph. Matching blue laces dangle from the tops of the eyelets. The grass under her feet and the car is a mix of green and brown blades.

The dark, glossy body panels of the automobile recede in this design. The car is mostly defined by the highlights and reflections in the headlamps and exposed engine compartment.

Interpretation

The playful addition of grandiose platform boots takes flamboyance, a staple ingredient of pinup photography, to the point of satire. The tie in of the storied Mustang line of automobiles is a lighthearted acknowledgement of pinup’s tendency to gratify rudimentary fascinations.

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This image of nudes with an old car links to the Great Depression, which afflicted every ethnicity in America. About fifty percent of African Americans were out of work, and tensions between blacks and whites surged in the U.S. The predecessors of these two models might have been in competition for jobs to build automobiles like this one. This car, found in a shop that restores rusting shells into candy-glossy gems, symbolizes the power of nostalgia. Rather than gloss over the past, we can use it to reflect and draw inspiration.

The overall composition is dominated by a background of dark tones and muted colors. The figures glow against the expanse of inky blues and rusty reds. The bright colors of the three characters help pull the viewers eyes from left to right, as well as encourage us to examine more subtle details.

It can be difficult to produce an original contribution to the theme of an art nude photograph of women and a car. The choice of a dilapidated roadster, rather than a restored or souped-up hot-rod was a conscious one for this reason. A vintage gas pump and Coca-Cola vending machine also evoke a time when things were less automated. One can imagine the attendant pumping gas for motorists as they marvel at the Coke machine’s autonomous ability to sell beverages.

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Her body is framed by distinct areas of detail. A variety of control apparatus protrude from the left: a wooden steering wheel, some switches and dials, and shifter knob. Behind her, the running boards are accented by wooden rails. Behind her, tan upholstery gleams in the darkness. In the distance, hints of other automobiles interrupt the darkness.

The image recalls classic pinups as well as the history of visual pairing of female beauty with stylish automobiles. In advertising, editorial, and art nude photography, there has been a pairing of the female form with and cars back to the earliest years.

The cropping of the image centers attention of the statuesque subject. The car provides minor graphical elements and minimal context. This tendency to center on the body is characteristic of pinup images.

What most distinguishes the composition is a light-toned vertical pillar that disrupts the inky background. The inclusion of this element significantly alters the mood of the image. A viewer might initially dismiss this item as inconsequential. That is, until we imagine the image with a plain background. Without this visual ingredient, we’d have only a figure framed by a car, isolated in near darkness. The vertical pillar splits the background into two uneven sections, but it also does more. This obelisk introduces a midground, detailing depth beyond the sharp area of focus. This component also connects the foreground to the top of the frame.  The depth and complexity added by this one element grants the photograph much its general demeanor.

Pinup art photography features women, posed in a playful and often alluring manner. Automobiles can be used as props or backdrops in nude art photography to add visual interest and to create a particular mood or theme. For example, an automobile might evoke a sense of freedom or adventure and create a retro or vintage pinup feel. The automobile itself is a focus of the photograph, adding to the overall aesthetic of the image. Additionally, automobiles evoke movement and dynamism in a photograph.

The car is a 1961 Morgan 4/4. Fewer than a hundred of the series III were made, all by hand; so like the figure who inhabits it, it is one of a kind. Compare this affordable art nude photography to another automotive pinup nude with the same woman on a different automobile.

“Red Morgan” is owned by art collectors in the United States (New York and Pennsylvania), Belgium, and Australia.

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Just before the artist entered art school, he saw an exhibit of the Jaguar E-type at the Museum of Modern Art in New York. Although initially skeptical, he learned to appreciate product design as an art form. With a newfound respect for automobile designers, the artist was inspired to include car bodies in his artwork. Similarly, there was a time he did not consider the pinup nude to be worthy of study as an art form, but the work of Hajime Sorayama changed his mind about that as well.

The lines of the vintage Jaguar E-type convertible drophead coupe are considered by some, including rival founder Enzo Ferrari, to have created the most beautiful automobile in the world. The woman in this pinup image has also received accolades for her poise and elegance. The combined inspiration led to this pinup nude/automobile pairing. As with the car, the beauty of her body is due to the way the lines work proportionally and in concert, rather than the sum of her curves.

The use of negative space sets up a wedge-shaped composition where the sports car and nude woman inject themselves as glowing curves in the darkness. The angle of view is subtly low, bringing the viewer into the contours of the automobile and the figure rather than gazing down on them.

Small details in this image include wire-spoke wheels, and the array of patterns from the floor to the engine bay.

This artwork has been purchased by collectors in Texas, Missouri, Japan, and Belgium. It is often paired with a motorcycle pinup nude photograph of the same woman.

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