They perform in front of some of the museum’s most-famed works, such as the “Mona Lisa,” Venus de Milo, and Louvre Pyramid.īut, like the Benoist portrait, this, too, can be allegorical. In the Louvre, they also appear to be in control - if only for the time that they have rented the space. Rarely are their family secrets, or upcoming albums or projects unveiled, and it is often noted that they are keen on having people sign nondisclosure agreements. The Carters are memorable for a lot of things, including the undeniable control of their narrative. Perhaps the Carters have also presented an allegory, in which a hip-hop music video by the industry’s most-coveted couple becomes much more than a pop culture moment, and rather a piece of art on its own terms: one that makes room for critiques of systemic power structures, like entertainment and art itself, which are often muddled with instances of misrepresentation of black people or the lack of representation completely. (Though its subsequent reinstatement should also be noted, as slavery was not fully abolished until 1894 in France.) “Portrait d’une femme noir ,” Marie-Guillemine Benoist, 1800. The Musée du Louvre, where the video was shot and where “Portrait d’une femme noir” was acquired in 1818, describes Benoist’s depiction of the black woman in the painting as an allegory, perhaps representing the abolishment of slavery in France just six years prior. The portrait is the only selected work that solely features a black subject in Beyoncé Knowles-Carter and Shawn “Jay-Z” Carter’s “Apeshit,” the couple’s latest collaborative visual by director Ricky Saiz, which accompanied the surprise release of their duet album Everything Is Love. Nevertheless, she stares right back at the viewer, as if she is just as much aware of your presence as you are hers. She is aware that she is being looked at, and perhaps less aware of what the final image might look like. One hand is gently placed in her lap while the other lays across her torso. She has a white scarf wrapped around her head and a small hoop earring hangs from her ear. She is adorned in what appears to be a white sheath one of her breasts is bare.
(The painting’s name means “Portrait of a Black Woman,” or “Portrait of a Negress.”) In an 1800 painting titled “Portrait d’une femme noir,” an unknown black woman sits for artist Marie-Guillemine Benoist. You can also see what we’re up to by signing up here.
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