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Line 117: − + + + + + + − − A fan in 1994 wrote about Lovett (and [[Gayle F's]]) choice of poses: − {{Quotation|I don't feel threatened by male pinups who are staring directly into the camera. In [[slash]] art this is quite common, perhaps in imitation of cheesecake photos, where the women usually stare saucily or poutingly at the viewer.... [It] is interesting but doesn't do much for me emotionally -- for the same reason some fans don't care for [[Gayle F]]'s or Suzan Lovett's art. The poses are too reminiscent of cheesecake photos, and thus make the subject seem overly effeminate. Yes, this attitude is politically incorrect, but I can't help my taste. I've been indoctrinated by society to prefer subjects who are less passive, less self-absorbed. (So why do the 'effeminate' qualities of [some mainstream erotic art] art bother me, while similar qualities in Suzan's and Gayle's art do not? I think it's because I know the subjects in fan art, while all I know of Sleigh's subjects is what she shows me.) <Ref> from a fan in [[Strange Bedfellows (APA)]] #6 (August 1994) </ref>}}
→Her Evolving Art Style and Fan Reactions To Her Art
[ [[Jean Kluge]] and I] lived close and we got to know each other. She was the one into a decorated borders and Celtic knot work. If it weren't for her, I probably would never have gone into it. Watching her work on that, those things is what got me into it. We were always influencing one another all over the place. I was in St Louis Area for about 10 years, so we did a lot of stuff together. The borders and things came directly from her, the illustrations more than portraits. I called them a survival value because when I got in, there were so many fantastic [[portrait]] artists, so many fantastic artists that drew portrait work, and my likenesses were never ever that good. So I thought if I could illustrate a scene and maybe get the emotion of an important scene, I can survive alongside these much better artists, which is why I got into drawing illustrations. <Ref> [[Media Fandom Oral History Project Interview with Suzan Lovett]] </ref>}}
[ [[Jean Kluge]] and I] lived close and we got to know each other. She was the one into a decorated borders and Celtic knot work. If it weren't for her, I probably would never have gone into it. Watching her work on that, those things is what got me into it. We were always influencing one another all over the place. I was in St Louis Area for about 10 years, so we did a lot of stuff together. The borders and things came directly from her, the illustrations more than portraits. I called them a survival value because when I got in, there were so many fantastic [[portrait]] artists, so many fantastic artists that drew portrait work, and my likenesses were never ever that good. So I thought if I could illustrate a scene and maybe get the emotion of an important scene, I can survive alongside these much better artists, which is why I got into drawing illustrations. <Ref> [[Media Fandom Oral History Project Interview with Suzan Lovett]] </ref>}}
Not all fans responded to Suzan's new lush art style. Some didn’t like the fact they could recognize the magazine ads and sources that the poses were taken from; others felt that the female model proportioning should have been changed to fit the fact that the characters were male. Others didn’t like borders or cluttered, multi-imaged backgrounds. During a 2006 discussion about [[Harlequin Airs]], one fan remarked: "I don't think the art was particularly them either, I just like Suzann's work on its own (except for the prominent penis thing ;) ) I can enjoy semi-lads art much the same as many readers can enjoy semi-lads stories. It's not so much a tendency to feminise Doyle as it is to morph him into [[Starsky]]... But that's a Suzann thing." <ref> from a July 2006 discussion at [http://ci5hq.livejournal.com/5562.html CI5hq] </ref>
Not all fans responded to Suzan's lush art style. Some didn’t like the fact they could recognize the magazine ads and sources that the poses were taken from; others felt that the female model proportioning should have been changed to fit the fact that the characters were male. Others didn’t like borders or cluttered, multi-imaged backgrounds.
A fan in 1994 wrote about Lovett (and [[Gayle F's]]) choice of poses:
{{Quotation|I don't feel threatened by male pinups who are staring directly into the camera. In [[slash]] art this is quite common, perhaps in imitation of cheesecake photos, where the women usually stare saucily or poutingly at the viewer.... [It] is interesting but doesn't do much for me emotionally -- for the same reason some fans don't care for [[Gayle F]]'s or Suzan Lovett's art. The poses are too reminiscent of cheesecake photos, and thus make the subject seem overly effeminate. Yes, this attitude is politically incorrect, but I can't help my taste. I've been indoctrinated by society to prefer subjects who are less passive, less self-absorbed. (So why do the 'effeminate' qualities of [some mainstream erotic art] art bother me, while similar qualities in Suzan's and Gayle's art do not? I think it's because I know the subjects in fan art, while all I know of Sleigh's subjects is what she shows me.) <Ref> from a fan in [[Strange Bedfellows (APA)]] #6 (August 1994) </ref>}}
During a 2006 discussion about [[Harlequin Airs]], one fan remarked: {{Quotation|I don't think the art was particularly them either, I just like Suzann's [sic] work on its own (except for the prominent penis thing ;) ) I can enjoy semi-lads art much the same as many readers can enjoy semi-lads stories. It's not so much a tendency to feminise Doyle as it is to morph him into [[Starsky]]... But that's a Suzann thing." <ref> from a July 2006 discussion at [http://ci5hq.livejournal.com/5562.html CI5hq] </ref>}}
The popularity of Lovett's art led some fans to feel that the art shows of the 1990s were blurring together, filled with Lovett-like art and lacking the raw sexuality and diversity of earlier art shows.<ref>Morgan Dawn's personal notes drawn from online discussions in the mid-1990s about fan art styles and whether fans preferred explicit vs. non-explicit art and whether they wanted spare or detailed art. These discussions were hampered at the time by the fact that few fans had access to the art being discussed and therefore lacked a common reference point. Without the ability to see and access art online, most conversations in [[letterzines]] and over email took place in a vacuum.</ref>
The popularity of Lovett's art led some fans to feel that the art shows of the 1990s were blurring together, filled with Lovett-like art and lacking the raw sexuality and diversity of earlier art shows.<ref>Morgan Dawn's personal notes drawn from online discussions in the mid-1990s about fan art styles and whether fans preferred explicit vs. non-explicit art and whether they wanted spare or detailed art. These discussions were hampered at the time by the fact that few fans had access to the art being discussed and therefore lacked a common reference point. Without the ability to see and access art online, most conversations in [[letterzines]] and over email took place in a vacuum.</ref>
In addition to complaints about her overshadowing art shows, some fans felt uncomfortable with a perceived disconnect between the pricing and the quality of her art. A fan wrote in 1994: "The art of Suzie Lovett, not counting the few prints on my walls, is overrated, overpriced, and overdue for some serious competition."<ref>Art review posted to the [[Virgule-L]] mailing list in May 1994, quoted anonymously with permission.</ref> The majority of fans felt differently, seeing in Lovett's work a tenderness and emotional intimacy that mirrored their feelings for and love of the characters (and of the characters for one another).
In addition to complaints about her overshadowing art shows, some fans felt uncomfortable with a perceived disconnect between the pricing and the quality of her art. A fan wrote in 1994: "The art of Suzie Lovett, not counting the few prints on my walls, is overrated, overpriced, and overdue for some serious competition."<ref>Art review posted to the [[Virgule-L]] mailing list in May 1994, quoted anonymously with permission.</ref> The majority of fans felt differently, seeing in Lovett's work a tenderness and emotional intimacy that mirrored their feelings for and love of the characters (and of the characters for one another).
Still other fans enthusiastically embraced what they saw as the lusty sensuality of her drawings: "Suzan Lovett's artwork," commented one fan, "should come with free vibrators."<ref>1997 [[ZCon]] report posted to the [[Virgule-L]] [[mailing list]].</ref>
Still other fans enthusiastically embraced what they saw as the lusty sensuality of her drawings: "Suzan Lovett's artwork," commented one fan, "should come with free vibrators."<ref>1997 [[ZCon]] report posted to the [[Virgule-L]] [[mailing list]].</ref>