The Seven Deadly Sins, Lust 

Curator: This is Erte's rendering of "The Seven Deadly Sins, Lust". It's undated but clearly exemplifies his Art Deco style. Editor: Striking, isn't it? That dramatic black leaf silhouette… the floating lips. The entire composition feels charged, almost feverish. Curator: The piece immediately calls to mind the societal attitudes of the time—the roaring twenties where pleasure and transgression are pushed and pulled against the prevalent conventions. The figure here embodies a rejection of restraint, yet within a moral framework, like illustrations from the pulp magazines. Editor: I see what you mean about restraint; though her form is unclothed, she's encased, framed, within the sharp lines of the leaf. It feels as though Erte plays with our own expectations, inviting us to both gaze and judge simultaneously. Her fire-like hair creates a visually compelling texture against her pallid skin and dark, sinuous gloves. Curator: And notice those almost translucent teardrops seemingly drawn toward the figure, along with the scattered beads that appear like little pills. How do these visual elements interact with popular beliefs around women at the time, even social anxieties of the period. The floating disembodied red lips feel especially transgressive. Editor: Indeed. The way the leaf's veining converges towards her body accentuates its placement, drawing one's eye towards her center in an extremely overt manner. Also, the crisp line work, almost like stained glass, seems essential to Erte's unique version of Art Deco. He balances sharp edges with this almost air-brushed figure, and this gives the work its unique style. Curator: Precisely. Beyond aesthetic enjoyment, we gain insight into how the depiction of women was changing yet still managed under the gaze and constraints of moral frameworks within broader society. Editor: Yes, analyzing how formal elements create that tension truly amplifies the overall statement.