4/10/2024 0 Comments Beyonce jay z music video lourve![]() The message is the same, the art-history equivalent of the song’s lyrics about being too good for the Grammies or the Super Bowl-“you need me, I don’t need you.” Translated: We own this shit. On the “Picasso Baby” track from the 2013 album Magna Carta Holy Grail ( cover art: Battista di Domenico Lorenzi’s Alpheus and Arethusa, from the Met), Jay-Z rapped the line, addressed to his daughter Blue Ivy, “Yellow Basquiat in my kitchen corner / Go ‘head, lean on that shit Blue, you own it.” In “Apes**t ,” the Carters turn the chamber in front of the Great Sphinx of Tanis into a nightclub, while a line of dancers shimmies dangerously close to David’s The Coronation of Napoleon. (The Louvre says Beyoncé and Jay-Z have visited the museum together four times, pitching the concept for the shoot when they swung by just last month.) Here, in the video, they are fiercely and effortlessly aristocratic in their powdered pink and green suits. ![]() If you want to “read” the symbolism of art in it, as many have, what do you get?Ĭompare “Apes**t”’s shot of the Mona Lisa to the couple’s 2014 vacation pic in front of the Mona Lisa. There, they look like tourists, strikingly ordinary for all their natural charisma. It starts and ends with the Mona Lisa, with stop-offs at the Nike of Samothrace, the Venus de Milo, the Oath of the Horatii, the Wedding at Cana, the Raft of the Medusa, and more masterpieces besides in between. (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 world is going apeshit over “ Apes**t.” Unleashed on Saturday to go with the first track from Everything Is Love, the new joint effort from Jay-Z and Beyoncé (aka the Carters), the characteristically regal music video for the song uses the Musée du Louvre in Paris as backdrop. 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.” 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. Jacques-Louis David’s Coronation of Napoleon (1805–07).
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