Eric's drawings are beyond the real depicting an alternative 50's world running alongside Betty and driving somethere over the blackened leather rainbow of press button porn to deliver sexual satiation in the imagination. An aesthetic salaciousness stifling its protagonist. Dynamics of stories turning the world upside down, admen cracking the office whip are upended into bleating boys when Sader Mascoch reveals his women in fur, cavorting in skin tight leather wielding her whip over her naughty boy. The woman hater learns to chaff at the bit as his anger turns to orgasm. Revenge is a purr of delight as the waters gush over his face; two for the price of one. Deserving his comeupance, suffocatingly crushed beneath the long lithe beautiful thighs, muffled by sexual energy, Stanton lets the imagination roam.
Stanton drew on Mascoch rather than De Sade.The more powerful the man, the more secret and desperate the desire to be tamed undertaken by a strong powerful beautiful woman.
De Sade, Juliette aside, portrayed his protagonists as violent powerful men, destroying the female body, crushing it into powdered atoms, filtered protons and finally into invisible quasars.
Mascoch understood allure, the flash of a thigh to entice and emotionally enbondage, the signal for a man to smash himself on the rocks of sensual beauty, used extensively in advertising. With "equality" beauty entices all sexes to supplicate within psychological bondage. Successful career men wanting to be tamed and beaten, echoed beyond pulp, Edgar Hoover just could not help himself at the time as Mary. Works comissioned by patrons, archetypal ferocious judges, politicians, lords trussed themselves in leather cords for their flabby, weathered flesh to be thrashed into submission, just like Max. An opus dei of repentance harkening back to the world of oak, leather and varnish of the not very public school. Matron's strong guiding hand leaving a red inprint of love on tender flesh as the prefect called for his fag. This provided a sting of recognised existence. Beauty of a woman is either to be adored or trampled upon.
His drawings belie the 50's goody goody two shoes, apple pie image of the decade; sex in the city, not the southern sounds of a roaring Elvis. Suburbia and high class hotels dominate the criss crosses of the race divide. This was (and is) a very strong demarcation in the USA. Stanton if you read carefully, almost sublimally tapped into another form of desure. He entices out of the box the strong desire for interracial sex, white men being dominated by black, native american, and other exotique sirens. All take the willow to the flesh whilst smothering their victims between the power of their muffle.
Although set in anoher world this form of innocence is more than seductive.