Chaotik:
Well, there's this gay guy that messaged me. In the past he offered me $300 to let him suck my dick, but I'm pretty sure he has LSD, so I could probably let him suck me off for LSD. It's just in the past, I declined because it felt wrong to me.
Chaotik:
I mean, if this it what it takes to get what I want, maybe I'll do it. Idk, it still feels somewhat wrong to me.
The work shows three figures, generally thought to be two witch-like women and one man, huddled together against a black background and lit from the front left. The intended meaning of the work is highly obscure. The background is devoid of setting or detail, and no context is given as to who these people might be, what they are captured doing, or where the scene is set. The figure at right, facing the viewer, is generally presumed to be male. His hands are around his crotch; he appears to be either masturbating, exposing himself or is mentally disturbed. According to art critic Fred Licht, "The sickly grin of his face certainly seems indicative of some sort of sexual compulsion".[3]
The two women are likely prostitutes,[4] and leer with mocking expressions and broad sinister smiles, seemingly ignoring the male figure. Some critics have speculated that the lower, concealed, portion of the canvas hides the fact that the woman on the far left is also masturbating. Support for this view draws from the strange smiles and expressions on both women's faces,[5] which are equally grotesque as the man's. According to Licht "there may be an element of self-mockery in this painting, some equation between the ironic loneliness of the exhibitionist (whose aim of attracting people is constantly thwarted by the means he obsessively adopts to capture attention) and the artist who also bares himself without shame or restraint and who is also doomed to being railed at as an aberration."[3]
Like most of the other works in the series, X-ray shows that the canvas was repainted and reworked before the final version was settled on. The position of the foremost figure's hand changed, and it is possible that the two female figures were, in an early version, shown reading a book resting on a man's knees.[5] Licht notes this contradictory approach to sexuality in many of Goya's works; while he was unflinching and realistic "to the point of crass" in depicting humanity as it actually is, he was often coy, reserved, and almost prudish in depicting sexual scenes, usually hiding or obscuring genitals, even in his depictions of naked male flayed figures in his The Disasters of War etchings.[3]