![]() (A red sash tied around a white swatch of fabric that covers the lower part of her body has also been cut.) The unknown sitter stares out in the video, taking up the full screen, her hair wrapped in a turban, her eyes angled slightly to her right as she shows one golden hoop earring (a pose that brings to mind Kerry James Marshall’s Untitled (Painter), 2009). The video crops Benoist’s portrait so that the servant’s exposed breast is no longer visible. Kadish, a scholar on French slavery, has written that, while some have read the woman in Benoist’s painting as an allegory for the republic (she is surrounded by the tricolor) or noted her resolute gaze, the art historian Griselda Pollock has compared the image to that of a scene in a slave auction, and the art historian Darcy Grimaldo Grigsby has written that its offensive title, which dehumanizes the sitter, “exercises a form of mastery or subordination: the sitter is robbed, like a slave, of her person’s property.” However, there were some concessions made for the most famous pop star in the world (and her husband): the Louvre put the hiring process on fast-forward for them. Possibly showing a servant brought to France from the Antilles by Benoist’s brother-in-law, it was painted in 1800, after the abolition of slavery by France but just as Napoleon was working to reinstate it in the nation’s colonies.ĭoris Y. Perhaps the most intriguing inclusion is a close-up shot of Marie-Guillemine Benoist’s Portrait of a Negress (1800) near the end of the video. Occasionally the lyrics and paintings cleverly sync up, too, as when Beyoncé sings, “Sippin’ my favorite alcohol/Got me so lit I need Tylenol” while details of wine being generously poured in Veronese’s The Wedding at Cana (1563) flash on screen. 2600 B.C.), the Venus de Milo (101 B.C.), The Winged Victory of Samothrace (190 B.C.), and David’s Coronation of Napoleon (1805–07), their movements and poses sometimes loosely mirroring those of figures in the artworks. The leading couple and their accompanying dancers also spend time with iconic works like the Great Sphinx of Tanis (ca. While the very act of renting of the Louvre is itself a display of wealth (even though renting the Louvre costs a lot less. JAY is stoic but Beyoncé is in beast mode serving scatty choreography in a white Stephane Rolland couture gown with the precision of an icon.Jacques-Louis David’s Coronation of Napoleon (1805–07). Its not easy to upstage the Mona Lisa, but Beyoncé and Jay-Z have managed it. A music video created to promote Beyoncé and Jay-Z’s collaborative album Everything Is Love, APESHIT pursues an agenda of black uplift and reparation already manifested in Beyoncé’s visual album Lemonade (2016). Titled Apest, their latest collaboration features the power couple, along with dancers, using the famous Paris museum as the backdrop and putting their own artistry in juxtaposition with the trove of Western. Towards the end of the visual there's a shot of Beyoncé and JAY-Z in front of the Winged Victory of Samothrace. Leave it to Beyoncé and Jay-Z to take over the Musée du Louvre for their latest music video in a grand fashion. ![]() One specific moment has caught the attention of the internet though so much so that it's now been turned into a challenge. ![]() The scene of Jasmine Harper picking out Nicholas $lick Stewart's afro in front of the Mona Lisa is particularly moving, as are those of Beyoncé and her girl squad dancing in front of The Consecration of the Emperor Napoleon and the Coronation of Empress Joséphine. The hit visual has been widely praised not just for its aesthetic but for the way in which it centres black bodies in a historically white space. The legendary couple also dropped a stunning music video for the album's lead single 'APESHIT' that is set in the actual Louvre. ![]()
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