The long-rumored Beyoncé and JAY-Z collaborative album EVERYTHING IS LOVE arrived without warning, and with it came “APESHIT”, a jaw-dropping visual for the project’s standout hit. Even by their lofty standards, this video is next level.
Granted access to film entirely inside the Louvre, it finds Bey and Jay giving us a private tour of the famed Parisian museum, casually flexing and getting up close and personal with some of the most iconic, priceless works of art in human history. Here, we break them all down by piece by piece.
“Galerie d’Apollon” – Second School of Fontainebleau, 1661
The so-named “Exhibition of Apollo” is a tremendous chamber in the Louver which initially started development in 1661. It turned into the main Royal Gallery for King Louis XIV, who might go ahead to utilize it as the model for the scandalous Hall of Mirrors at the Palace of Versailles.
“Mona Lisa” – Leonardo da Vinci, 1503-06
A standout amongst the most unmistakable faces in craftsmanship history, Leonardo da Vinci’s “Mona Lisa” is similarly as celebrated for being shockingly little (and scandalously hard to approach through the Louver’s immense group). This isn’t an issue for Bey and Jay, who respect it at various focuses in the video without intrusion and highlight it on the collection cover.
“Winged Victory of Samothrace” – 200-190 BC
The figure “Winged Victory of Samothrace” is put at the point of convergence of one of the Louver’s numerous huge waiting rooms, an amazing format that Bey and Jay’s reinforcement artists make great utilization of. The statue’s creation goes back to around the year 200 BC, and delineates Nike – the Greek goddess of triumph.
“Oath of the Horatii” – Jacques-Louis David, 1784
Symbolic of the Neocloassical style, we get brief looks of “Promise of the Horatii”, a delineation of a scene from Roman folklore. It was brought about by Jacque-Louis David, who we will see significantly more of in one minute.
“Great Sphinx of Tanis” – 2600 BC
A feature of the Louver’s accumulation of relics, the Great Sphinx of Tanis dates the distance back to the year 2600 BC. It’s one of in excess of 50,000 bits of Egyptian craftsmanship in their gathering, a consequence of pioneer Europe’s enormous looting of ancient rarities that Bey and Jay eminently send up all through the video.
“The Coronation of Napoleon” – Jacques-Louis David, 1805-07
Our companion David shows up with this artistic creation, a staggering portrayal of Napoleon’s self-crowning ritual as Emperor in the wake of overcoming Europe in 1804. As Napoleon’s authentic painter, David kept nothing down in this epic endeavor – the canvas measures around 33 feet wide and 20 feet tall. Plainly, it’s a perfect scenery for some line moving.
“The Intervention of the Sabine Women” – Jacques-Louis David, 1799
Another shocker by David, this fight scene portrays an early legend of Ancient Rome with mayhem and gut – maybe an aftereffect of the painter being detained at the time he began chip away at the artistic creation.
“Portrait of Madame Récamier” – Jacques-Louis David, 1800
David strikes once more. Dispatched by a renowned Parisian socialite in 1800, Madame Récamier’s figure is compared delightfully by that of two of Beyoncé’s artists.
“The Raft of the Medusa” – Théodore Géricault, 1818-19
JAY-Z spends his verse chilling at the exhibition halls’ pyramid design outside and before “The Raft of the Medusa”, a lynchpin of the Romantic development by Théodore Géricault. It’s a beautiful botched up painting to hang with, as it delineates the genuine story of mariners compelled to get by eating each other while lost adrift.
“The Charging Chasseur” – Théodore Géricault, 1812
Géricault gets another concise yell with this sketch – a man on horseback with some genuinely advantageous cap diversion.
“Venus de Milo” – 130-100 BC
It doesn’t get more notable in the realm of model than the “Venus de Milo”, an envisioning of the goddess of adoration that broadly has lost its arms since its creation around 100 BC. Given this current collection’s topic, it bodes well that Bey and Jay would include it.
“Portrait of a Negress” – Marie-Guillemine Benoist, 1800
Effectively showing up for a solitary shot towards the video’s end, the consideration of “Representation of a Negress” by Marie-Guillemine Benoist is an intense visual indication of the ways that the dark network has been (and still is) fetishized and commodified for quite a long time. The specific presence of the “APESHIT” video is an intense, great announcement of dark greatness supplanting this thought at the pinnacle of Western culture.