his paintings Sick Bacchus and Boy with a basket of fruit, the erotic invitation somewhat becomes ambiguous by creating a retreat. This retreat, as seen in the Sick Bacchus, is described by a movement of an arm or a shoulder, which could be described as a concealment of the very advances that lend to invite his viewers into the world of erotica. An interesting Phenomenon comes into play when you take into consideration the effect of a come-on and the consequence of a retreat of that come-on. This is an ironical treatment of a subject that in turn can argue that a movement away from a come-on is fascinating and creates questions on the figures apparent availability. The Sick Bacchus ironically solicits frustration to its audience.Another interesting aspect becomes focused on the idea of withdrawal and retreat. Investigation into the painting can serve as an avenue which investigates the withdraw not only as a concealment of sexuality, but as a redirection of the viewers eye. The redirection can be placed on the even more symbolic but still ambiguous objects in the painting. The sash and the fruit can describe these. Again relating back to the content of the picture, we ask ourselves, is this of phallic nature? And in most conclusions we can say that, yes, these objects have been strategically placed to lend to the enticement of the viewer. Grapes, for instance, seen as a personification of human enticement. Personifying wealth, prosperity and sexuality. The peach, personification of a back end, heightens the intensity of sexuality and fallacies. The sash strategically placed to reveal the luciousness of the Bacchus. These subjects are all tools used to seduce the viewer, In contrast to the portrayal of a provocatively exposed body, the table seen creates a formal position, which contrasts greatly with the Bacchus. But the table, representing a look somewhat like that of a tombstone, compliments the green hue of the Bacch...
