Coming from a dominant artist like Bey whose career reflects a consistent effort to highlight the fierce black women in her art (just look at the Lemonade film, featuring everyone from Serena Williams to Michaela DePrince), this is an affirmation of the power and beauty of black people, and black women in particular.įor an album that many view as the third installation- and musical conclusion-of JAY and Bey’s relationship saga (following Beyoncé’s 2016 opus Lemonade and JAY-Z’s side of the story in 2017’s 4:44), there are a number of instances where the art featured seems to directly speak to what The Carters have been through together. Her intervention forces her husband, Romulus, to think twice before striking her father with a spear and marked "a recognition of the power of women as peacemakers." These images are juxtaposed with images of Bey’s dancers, empowered black women of all shades, be it on a staircase in the Louvre or alongside Bey in front of the aforementioned Coronation of Napoleon. This particular piece illustrates a Roman story about a woman, Hersilia, intervening during a battle between her husband and her father. One of the most evocative works to appear in the “Apeshit” visual is Jacque-Louis David’s 1799 painting, The Intervention of the Sabine Women, which is shown a number of times throughout the video. But considering Bey’s ancestry, it feels like a deeper statement about how Beyoncé has turned the pain of colonialism on its head, standing defiant. Bey renting out the Louvre for a video and stunting head to toe in Burberry in front of many famous works of art could be seen as Bey getting her Josephine on.Īgain, at face value, it could just be a slick reference intended for art history nerds. Twitter user Queen Curly Fry points out the depth of this moment’s significance: Napoleon’s wife Josephine was crowned an empress while rocking expensive clothes during the coronation. In the video, Beyoncé appears with her dancers in front of Jacques Louis David’s The Coronation of Napoleon-which features Napoleon crowning Josephine-while singing about her “expensive fabrics”. Beyoncé’s French-Creole ancestry (on her mother’s side) give her ties to the slave trade and Napoleon III, who colonized Europe, North Africa, and other areas during his reign from 1852 to 1870. The Neoclassical pieces featured in the “Apeshit” visuals appear for a potent purpose.
Rest assured, nothing The Carters do is by accident. When you dig deeper into how Bey and JAY incorporated the Louvre’s famed work in “Apeshit,” there is plenty of powerful symbolism to unpack. On sight, filming a video in such a famous venue is the ultimate flex-which one of your faves not named JAY-Z or Beyoncé could ever pull this off? The museum is home to some of the world's most famous works of art, including the Mona Lisa and Virgin and Child with St Anne. How did the “Apeshit” video end up getting shot in the Louvre, though? A spokesperson for The Louvre told Vulture that The Carters presented a concept that “showed a real attachment to the museum and its beloved artworks” in May of 2018.Įven if you aren’t an art historian, you’ve probably heard of the Louvre It’s the largest art museum in the world, bringing in over 8.1 million visitors in 2017 alone. JAY and Bey’s appreciation for art-evidenced by the pair dropping $4.5 million on a Basquiat piece ( Mecca, 1982) back in 2013-has even rubbed off on their daughter, Blue Ivy, who purchased a piece by Tiffanie Anderson for nearly $20,000. Holy Grail single “Picasso Baby,” a song about his growing love for art, into a performance art piece alongside Serbian performance artist Marina Abramović.
The painting depicts the Horatii swearing their loyalty, ready to sacrifice themselves for Rome, while the women are prostrate with grief.Hov even turned his Magna Carta. It is believed to date from the 2nd century BC, created as a commemoration of a naval battle.ĭavid's first royal commission, in 1784, shunned the mythological for a subject of sober historical significance - in particular, stoicism and patriotism - focusing on the end of the war between Rome and Alba, in which both cities chose champions to fight, the Horatii and Curiatii respectively. Rather, da Vinci appears to have held on to the work until his death, after which it passed into the François I's collection.Ī depiction of the goddess Nike, the personification of victory, the statue once stood at the prow of a marble ship, as part of an ornamental fountain on the island Samothrace. However, it seems the portrait never made it into its subject's possession. The mysterious subject at the centre of the portrait is believed to be the wife of a Florentine cloth merchant named Francesco del Giocondo notably, none of her garments indicate aristocratic status.