Redux

Kneeling before Danielson, Anne bowed low, worshipping the painter's prick. Letting her open jaws descend over his stiff, standing erection, she drew her rounded lips up and down, in a slow, steady rhythm that brought to Danielson's mind the relentless inflow and outflow of the ocean's surf, reminding him, as did Anne herself, of the goddess of beauty's birth from the foam of the sea.

Sensing the rising urgency in the artist's loins, Anne quickened the pace with which she sucked Danielson's cock, and he was soon relieving himself in her mouth, jet after warm, thick jet of his fecundating fluid filling her oral cavity. She swallowed and swallowed as his convulsing cock spewed another volley of semen into the warm-soft-wetness of her mouth, and, still, more splattering ejaculate sprayed over her tongue and palate. She swallowed these additional bursts of semen, delighting in the salty, sea-taste of him.

It was the first time that Danielson had ever ejaculated in front of one of his works, and he found the experience tremendously exciting, a signature of sorts. It was as if the central figure of his painting had come to life, taken on flesh instead of paint, and stepped off his canvas to demonstrate her adoration of him, her creator.

*

The last of the three paintings took Danielson a week to complete, but, when it was finished, he saw, at once, that, even as a mere replication of the original, it was, in its own right, a masterpiece worthy of one of the great galleries of the world. As always, the patient, longsuffering Anne, had, likewise, been the perfect model, this time portraying Eve, with whom the artist had coupled a portrait of himself, nude, like her, as Adam.

This time, the painting that Danielson copied, altering only the "detail" of Eve's sex organs, was by Tiziano Vecelli, better known to the world as Titian. There had been a debate among philosophers, theologians, artists, and others as to whether humanity's first parents should be depicted as having had navels.