Strange horror erotica by Emmanuel Taglietti: how to make sexuality and fear funny

In the 1970s, such a strange genre as horror-erotica flourished. The popularity of this topic was mercilessly exploited by hundreds of magazines that published dull comics or just illustrations with buxom beauties in the arms of vampires, zombies and mummies. But in the numerous cohort of sad artists who worked in this field, there were also real masters, such as Emanuele Taglietti. (Careful! Nude).

Taglietti's works were not allowed to get lost among thousands of similar ones by the fact that this artist, unlike his colleagues in the workshop, played the plots of his illustrations with a subtle first-class humor. Absurd, sometimes barely noticeable jokes, were a distinctive feature of almost every one of his works.

Today we call such things "Easter eggs" and they no longer surprise us. And in the 70s and early 80s, it was these highlights that made magazines with Emmanuel's works diverge with huge circulations. At the same time, at first glance, all the master's paintings do not go beyond the genre and contain all the necessary creepy-erotic attributes. But careful consideration will almost inevitably end with at least a smile, and more often with a loud laugh.

Look — isn't this vampire beautiful, like two drops of water similar to the Hollywood handsome Nicolas Cage?

And how do you like this turn — an innovator vampire decides to drink blood from a new place for him.

In this illustration, everything is beautiful, and especially the naked chest of the monkey, overshadowing the more modest bust of the main character, placed in the foreground.

Primates in the company of beauties, for some reason, especially inspired the artist. A lot of funny works are devoted to this topic.

More often in the works of Emmanuel Taglietti, there are only female cops in a uniform torn by scoundrels and monsters.

There are well, very unusual and acute-social works performed with great attention to detail.

To explain what is happening here, only an elderly fan of the artist's work, who saw the flowering of his fame, or Emmanuel himself, can explain.

It is quite obvious that wolves (or dogs) are not the strongest place of the artist, but the illustration still causes the necessary effect. In general, you can comment on Taglietti's works with one phrase — "both laughter and sin". Exactly how can we describe the works of another illustrator-Clovis Truille, who created half a century earlier.