![]() ![]() (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.” 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. It includes five densely-packed minutes of art, fashion, and performance filmed on an epic scale at the Louvre. ![]() Over Father’s Day weekend, Beyoncé and Jay-Z released a music video for their new track Apeshit from their collaborative album Everything is Love. 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. The icon indicates free access to the linked research on JSTOR. 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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