![]() ![]() Beyoncé and Jay-Z have already pushed the limits in respecting the elegance of this temple of ancient art. It is not a film, and though there is music, it is mostly an advertisement for the couple's new album. However, perhaps with this music video, you can feel a hint of discomfort at the Louvre. This comes as the Louvre's finances grow ever tighter, depending on visitors for revenues, as well as the state, which is constantly demanding that the museum find its own way to be self-sufficient. However, the museum changed its course in 2014, opening a "filming" service with a team of four. Meaning, they does not run after clients but rather lets the client come to them, which might explain why the revenues are so small. The Louvre's officials note that they have no financial aspirations when it comes to film shoots. It would be highly unlikely, for example to see in on cinema screens some futuristic vehicle crashing into I.M. And the only projects accepted are those that create added value for the museum. It is true that filming can only take place on Tuesdays, when the museum closes its doors to the public, or at night. The totals indeed are quite small in comparison to its annual revenue of 145 million euros, or recalling that the museum has been used as a set for Da Vinci Code (2006) and Wonder Woman (2017), whose main character is one of the Louvre's curators. This figure may make experts chuckle, and yet, hundreds of minor shootings that take place each year in the museum only brought 260,000 euros in revenue in 2016 and 400,000 euros last year. The regular rates are said to be around 40,000 euros for two nights. ![]() Among the questions going unanswered: The Louvre refuses to say how much money the couple paid. Only one thing is certain: The reigning royals of music are at home in this former palace of kings. Not a word from the Louvre itself, as it conducts its affairs in silence, leaving the door open to questions of all kinds. The video for the song "Apeshit," from the Everything is Love album has ardent supporters others think the whole scene is vulgar. The latest music video from the world's most famous musical couple, Jay-Z and Beyoncé, is shot amid the museum's timeless masterpieces and along its storied halls, has created a bonafide cultural furor for the past week. (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).PARIS - How do we decide what is the world's top museum? Its size, prestige, collection, the number of visitors - and the way it showcases its brand. 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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