Beyoncé and Art History
How did Beyoncé employ art historical representation in her public performances to establish her public image of a goddess?
August 3, 2022
Our beloved queen is back! As she sits fearlessly on a transparent skeleton horse made of silver fireflies, one hand holding its neck and the other balancing her pose, her gaze is confidently directed at the viewers. There is no question who is the boss here; she is presented as a powerful queen, a goddess, a muse. Beyoncé's (very) new album cover, Renaissance, is yet another product of her long and notable rebranding since she launched her solo career in 2006. As part of this rebranding, she masterfully mixes historical art references into her videos, magazines, and album covers, which contribute to her image as an assertive goddess. Renaissance is another revival, or period of marked improvement and added life for her brand.
‘Visual’ (or Fine) art holds the ability to express ideas, emotions, and concepts in deep, simulating, and subtle layers, both in a direct or sophisticated manner. Whether in the use of aesthetics which associate with certain ideas and representations, or the lack of them, every visual art representation carries within it core meanings. Many artworks are filled with meanings acquired throughout space, time and history, and viewers perceive these messages, both consciously or not. Simply put, visual art and its representations can make one feel, understand and experience the world around them. Yet, visual art, or its representations and the ways it is being communicated, means and acts in many directions, from both the artist's perspective and taking other directions from each viewer's perspective.
Beyoncé understands the significance and the influence of this visual representation and the meanings it carries, first introduced to her by her mother, Tina Knowles Lawson, who is a collector of African American and women artists. Her collection is shown alongside a facility filled with books about Art history and theory. Since childhood, Beyoncé was encouraged by her mother to be able to reflect on herself through the use of positive, noble, strong images of African art, African American art, and female art. It is not surprising then, that these characteristics are the core heart of her brand image.
So, in light of this short intro, let's look at three of her art historical references (which you can also visit physically!) that contribute to establishing her brand image as a forceful, positive, strong and fearless woman.
Renaissance
Queen B's new album Renaissance's cover was shot by Dutch photographer Carlijn Jacobs and references the compositions and elements of the Pre-Raphaelite painting Lady Godiva by 19th-century English painter John Collier, on display at the Herbert Art Gallery & Museum in Coventry.
According to legend, Lady Godiva was an 11th-century noblewoman, who rode naked around the streets of Coventry, England, to gain remission from her husband's oppressive taxations on his people. To this day Lady Godiva's name is associated with justice and morality; she is still known as the protector of the people, and the way she manipulated her privilege is perceived as a heroic act. This reference is particularly interesting today when considering the American Supreme Court’s overturning Roe v. Wade, perhaps carrying the suggestion that Beyoncé is the people's protector?
Beyoncé’s 2017 Grammys Performance
In 2017, the heavily pregnant Beyoncé performed a breath-taking show at the Grammy Awards. The stage itself was outstanding, with a film by artist Awol Erizku playing in the background featuring many influential African and African American women, including her mother and daughter. Her outfit, designed by Peter Dundas, included a gold gown with golden accessories and a halo crown, referencing both the Virgin Mary and Oshun, the Yoruba goddess of water, purity, fertility, love, and sensuality. Yoruba mythology describes Oshun as one of the most effective orishas, always depicted with a golden gown and accessories, and is associated with female energy, leadership and beauty. The British Museum in London houses one of the most famous sculptures of Oshun, definitely standing as a must-visit! In addition to Oshun, Beyoncé's outfit depicts Christian imagery and resembles Mary, especially in her nimbus - the circular radius of a hal - which highlights her holiness.
Beyoncé's brand is all about a strong woman who bridges Western and non-Western cultures through her power and female leadership, similar to this outfit.
Apeshit music video
With over 10 million visitors in 2018, this video, directed by Ricky Saiz, has inspired many viewers to visit the Louvre (the number of visitors has increased by 25% compared to the past year). Beyoncé and Jay Z, two African American idols, stand alongside Western heroes, comparing and referencing themselves to the establishments of Western Culture, from ancient Greece to the Renaissance and neoclassicism. They begin by standing near two Greek and Roman goddesses' sculptures, inviting a direct connection between the two figures and themselves; Nikke, the goddess of victory in Greek mythology, and Venus from Milos, the goddess of beauty and love. There is an additional fascinating element created by the association between the couple and the Mona Lisa.
Arguably the most instantly-recognisable piece of Western art, the Mona Lisa occupies and symbolises a significant place within the artistic canon. When the Carters stand before the Mona Lisa, facing the camera rather than the painting, it appears as if the Mona Lisa is gazing at them instead of the other way around. The Carters build their statement around a famous painting by rearranging a hierarchy of subject and object; in the seconds before the couple turns and gazes directly at the Mona Lisa, the camera focuses on Marie-Guillemine Benoist's 'Portrait de Madeleine' from 1800. In this portrait, a black woman was portrayed in a respectful manner by one of the few women artists in that era, only 6 years after slavery was abolished in France. Following a closeup of a painting centred around a black woman, the Carters gaze into the Mona Lisa. The statement is over; they are the subject.
Our beloved queen is back! As she sits fearlessly on a transparent skeleton horse made of silver fireflies, one hand holding its neck and the other balancing her pose, her gaze is confidently directed at the viewers. There is no question who is the boss here; she is presented as a powerful queen, a goddess, a muse. Beyoncé's (very) new album cover, Renaissance, is yet another product of her long and notable rebranding since she launched her solo career in 2006. As part of this rebranding, she masterfully mixes historical art references into her videos, magazines, and album covers, which contribute to her image as an assertive goddess. Renaissance is another revival, or period of marked improvement and added life for her brand.
‘Visual’ (or Fine) art holds the ability to express ideas, emotions, and concepts in deep, simulating, and subtle layers, both in a direct or sophisticated manner. Whether in the use of aesthetics which associate with certain ideas and representations, or the lack of them, every visual art representation carries within it core meanings. Many artworks are filled with meanings acquired throughout space, time and history, and viewers perceive these messages, both consciously or not. Simply put, visual art and its representations can make one feel, understand and experience the world around them. Yet, visual art, or its representations and the ways it is being communicated, means and acts in many directions, from both the artist's perspective and taking other directions from each viewer's perspective.
Beyoncé understands the significance and the influence of this visual representation and the meanings it carries, first introduced to her by her mother, Tina Knowles Lawson, who is a collector of African American and women artists. Her collection is shown alongside a facility filled with books about Art history and theory. Since childhood, Beyoncé was encouraged by her mother to be able to reflect on herself through the use of positive, noble, strong images of African art, African American art, and female art. It is not surprising then, that these characteristics are the core heart of her brand image.
So, in light of this short intro, let's look at three of her art historical references (which you can also visit physically!) that contribute to establishing her brand image as a forceful, positive, strong and fearless woman.
Renaissance
Queen B's new album Renaissance's cover was shot by Dutch photographer Carlijn Jacobs and references the compositions and elements of the Pre-Raphaelite painting Lady Godiva by 19th-century English painter John Collier, on display at the Herbert Art Gallery & Museum in Coventry.
According to legend, Lady Godiva was an 11th-century noblewoman, who rode naked around the streets of Coventry, England, to gain remission from her husband's oppressive taxations on his people. To this day Lady Godiva's name is associated with justice and morality; she is still known as the protector of the people, and the way she manipulated her privilege is perceived as a heroic act. This reference is particularly interesting today when considering the American Supreme Court’s overturning Roe v. Wade, perhaps carrying the suggestion that Beyoncé is the people's protector?
Beyoncé’s 2017 Grammys Performance
In 2017, the heavily pregnant Beyoncé performed a breath-taking show at the Grammy Awards. The stage itself was outstanding, with a film by artist Awol Erizku playing in the background featuring many influential African and African American women, including her mother and daughter. Her outfit, designed by Peter Dundas, included a gold gown with golden accessories and a halo crown, referencing both the Virgin Mary and Oshun, the Yoruba goddess of water, purity, fertility, love, and sensuality. Yoruba mythology describes Oshun as one of the most effective orishas, always depicted with a golden gown and accessories, and is associated with female energy, leadership and beauty. The British Museum in London houses one of the most famous sculptures of Oshun, definitely standing as a must-visit! In addition to Oshun, Beyoncé's outfit depicts Christian imagery and resembles Mary, especially in her nimbus - the circular radius of a hal - which highlights her holiness.
Beyoncé's brand is all about a strong woman who bridges Western and non-Western cultures through her power and female leadership, similar to this outfit.
Apeshit music video
With over 10 million visitors in 2018, this video, directed by Ricky Saiz, has inspired many viewers to visit the Louvre (the number of visitors has increased by 25% compared to the past year). Beyoncé and Jay Z, two African American idols, stand alongside Western heroes, comparing and referencing themselves to the establishments of Western Culture, from ancient Greece to the Renaissance and neoclassicism. They begin by standing near two Greek and Roman goddesses' sculptures, inviting a direct connection between the two figures and themselves; Nikke, the goddess of victory in Greek mythology, and Venus from Milos, the goddess of beauty and love. There is an additional fascinating element created by the association between the couple and the Mona Lisa.
Arguably the most instantly-recognisable piece of Western art, the Mona Lisa occupies and symbolises a significant place within the artistic canon. When the Carters stand before the Mona Lisa, facing the camera rather than the painting, it appears as if the Mona Lisa is gazing at them instead of the other way around. The Carters build their statement around a famous painting by rearranging a hierarchy of subject and object; in the seconds before the couple turns and gazes directly at the Mona Lisa, the camera focuses on Marie-Guillemine Benoist's 'Portrait de Madeleine' from 1800. In this portrait, a black woman was portrayed in a respectful manner by one of the few women artists in that era, only 6 years after slavery was abolished in France. Following a closeup of a painting centred around a black woman, the Carters gaze into the Mona Lisa. The statement is over; they are the subject.
Our beloved queen is back! As she sits fearlessly on a transparent skeleton horse made of silver fireflies, one hand holding its neck and the other balancing her pose, her gaze is confidently directed at the viewers. There is no question who is the boss here; she is presented as a powerful queen, a goddess, a muse. Beyoncé's (very) new album cover, Renaissance, is yet another product of her long and notable rebranding since she launched her solo career in 2006. As part of this rebranding, she masterfully mixes historical art references into her videos, magazines, and album covers, which contribute to her image as an assertive goddess. Renaissance is another revival, or period of marked improvement and added life for her brand.
‘Visual’ (or Fine) art holds the ability to express ideas, emotions, and concepts in deep, simulating, and subtle layers, both in a direct or sophisticated manner. Whether in the use of aesthetics which associate with certain ideas and representations, or the lack of them, every visual art representation carries within it core meanings. Many artworks are filled with meanings acquired throughout space, time and history, and viewers perceive these messages, both consciously or not. Simply put, visual art and its representations can make one feel, understand and experience the world around them. Yet, visual art, or its representations and the ways it is being communicated, means and acts in many directions, from both the artist's perspective and taking other directions from each viewer's perspective.
Beyoncé understands the significance and the influence of this visual representation and the meanings it carries, first introduced to her by her mother, Tina Knowles Lawson, who is a collector of African American and women artists. Her collection is shown alongside a facility filled with books about Art history and theory. Since childhood, Beyoncé was encouraged by her mother to be able to reflect on herself through the use of positive, noble, strong images of African art, African American art, and female art. It is not surprising then, that these characteristics are the core heart of her brand image.
So, in light of this short intro, let's look at three of her art historical references (which you can also visit physically!) that contribute to establishing her brand image as a forceful, positive, strong and fearless woman.
Renaissance
Queen B's new album Renaissance's cover was shot by Dutch photographer Carlijn Jacobs and references the compositions and elements of the Pre-Raphaelite painting Lady Godiva by 19th-century English painter John Collier, on display at the Herbert Art Gallery & Museum in Coventry.
According to legend, Lady Godiva was an 11th-century noblewoman, who rode naked around the streets of Coventry, England, to gain remission from her husband's oppressive taxations on his people. To this day Lady Godiva's name is associated with justice and morality; she is still known as the protector of the people, and the way she manipulated her privilege is perceived as a heroic act. This reference is particularly interesting today when considering the American Supreme Court’s overturning Roe v. Wade, perhaps carrying the suggestion that Beyoncé is the people's protector?
Beyoncé’s 2017 Grammys Performance
In 2017, the heavily pregnant Beyoncé performed a breath-taking show at the Grammy Awards. The stage itself was outstanding, with a film by artist Awol Erizku playing in the background featuring many influential African and African American women, including her mother and daughter. Her outfit, designed by Peter Dundas, included a gold gown with golden accessories and a halo crown, referencing both the Virgin Mary and Oshun, the Yoruba goddess of water, purity, fertility, love, and sensuality. Yoruba mythology describes Oshun as one of the most effective orishas, always depicted with a golden gown and accessories, and is associated with female energy, leadership and beauty. The British Museum in London houses one of the most famous sculptures of Oshun, definitely standing as a must-visit! In addition to Oshun, Beyoncé's outfit depicts Christian imagery and resembles Mary, especially in her nimbus - the circular radius of a hal - which highlights her holiness.
Beyoncé's brand is all about a strong woman who bridges Western and non-Western cultures through her power and female leadership, similar to this outfit.
Apeshit music video
With over 10 million visitors in 2018, this video, directed by Ricky Saiz, has inspired many viewers to visit the Louvre (the number of visitors has increased by 25% compared to the past year). Beyoncé and Jay Z, two African American idols, stand alongside Western heroes, comparing and referencing themselves to the establishments of Western Culture, from ancient Greece to the Renaissance and neoclassicism. They begin by standing near two Greek and Roman goddesses' sculptures, inviting a direct connection between the two figures and themselves; Nikke, the goddess of victory in Greek mythology, and Venus from Milos, the goddess of beauty and love. There is an additional fascinating element created by the association between the couple and the Mona Lisa.
Arguably the most instantly-recognisable piece of Western art, the Mona Lisa occupies and symbolises a significant place within the artistic canon. When the Carters stand before the Mona Lisa, facing the camera rather than the painting, it appears as if the Mona Lisa is gazing at them instead of the other way around. The Carters build their statement around a famous painting by rearranging a hierarchy of subject and object; in the seconds before the couple turns and gazes directly at the Mona Lisa, the camera focuses on Marie-Guillemine Benoist's 'Portrait de Madeleine' from 1800. In this portrait, a black woman was portrayed in a respectful manner by one of the few women artists in that era, only 6 years after slavery was abolished in France. Following a closeup of a painting centred around a black woman, the Carters gaze into the Mona Lisa. The statement is over; they are the subject.
Our beloved queen is back! As she sits fearlessly on a transparent skeleton horse made of silver fireflies, one hand holding its neck and the other balancing her pose, her gaze is confidently directed at the viewers. There is no question who is the boss here; she is presented as a powerful queen, a goddess, a muse. Beyoncé's (very) new album cover, Renaissance, is yet another product of her long and notable rebranding since she launched her solo career in 2006. As part of this rebranding, she masterfully mixes historical art references into her videos, magazines, and album covers, which contribute to her image as an assertive goddess. Renaissance is another revival, or period of marked improvement and added life for her brand.
‘Visual’ (or Fine) art holds the ability to express ideas, emotions, and concepts in deep, simulating, and subtle layers, both in a direct or sophisticated manner. Whether in the use of aesthetics which associate with certain ideas and representations, or the lack of them, every visual art representation carries within it core meanings. Many artworks are filled with meanings acquired throughout space, time and history, and viewers perceive these messages, both consciously or not. Simply put, visual art and its representations can make one feel, understand and experience the world around them. Yet, visual art, or its representations and the ways it is being communicated, means and acts in many directions, from both the artist's perspective and taking other directions from each viewer's perspective.
Beyoncé understands the significance and the influence of this visual representation and the meanings it carries, first introduced to her by her mother, Tina Knowles Lawson, who is a collector of African American and women artists. Her collection is shown alongside a facility filled with books about Art history and theory. Since childhood, Beyoncé was encouraged by her mother to be able to reflect on herself through the use of positive, noble, strong images of African art, African American art, and female art. It is not surprising then, that these characteristics are the core heart of her brand image.
So, in light of this short intro, let's look at three of her art historical references (which you can also visit physically!) that contribute to establishing her brand image as a forceful, positive, strong and fearless woman.
Renaissance
Queen B's new album Renaissance's cover was shot by Dutch photographer Carlijn Jacobs and references the compositions and elements of the Pre-Raphaelite painting Lady Godiva by 19th-century English painter John Collier, on display at the Herbert Art Gallery & Museum in Coventry.
According to legend, Lady Godiva was an 11th-century noblewoman, who rode naked around the streets of Coventry, England, to gain remission from her husband's oppressive taxations on his people. To this day Lady Godiva's name is associated with justice and morality; she is still known as the protector of the people, and the way she manipulated her privilege is perceived as a heroic act. This reference is particularly interesting today when considering the American Supreme Court’s overturning Roe v. Wade, perhaps carrying the suggestion that Beyoncé is the people's protector?
Beyoncé’s 2017 Grammys Performance
In 2017, the heavily pregnant Beyoncé performed a breath-taking show at the Grammy Awards. The stage itself was outstanding, with a film by artist Awol Erizku playing in the background featuring many influential African and African American women, including her mother and daughter. Her outfit, designed by Peter Dundas, included a gold gown with golden accessories and a halo crown, referencing both the Virgin Mary and Oshun, the Yoruba goddess of water, purity, fertility, love, and sensuality. Yoruba mythology describes Oshun as one of the most effective orishas, always depicted with a golden gown and accessories, and is associated with female energy, leadership and beauty. The British Museum in London houses one of the most famous sculptures of Oshun, definitely standing as a must-visit! In addition to Oshun, Beyoncé's outfit depicts Christian imagery and resembles Mary, especially in her nimbus - the circular radius of a hal - which highlights her holiness.
Beyoncé's brand is all about a strong woman who bridges Western and non-Western cultures through her power and female leadership, similar to this outfit.
Apeshit music video
With over 10 million visitors in 2018, this video, directed by Ricky Saiz, has inspired many viewers to visit the Louvre (the number of visitors has increased by 25% compared to the past year). Beyoncé and Jay Z, two African American idols, stand alongside Western heroes, comparing and referencing themselves to the establishments of Western Culture, from ancient Greece to the Renaissance and neoclassicism. They begin by standing near two Greek and Roman goddesses' sculptures, inviting a direct connection between the two figures and themselves; Nikke, the goddess of victory in Greek mythology, and Venus from Milos, the goddess of beauty and love. There is an additional fascinating element created by the association between the couple and the Mona Lisa.
Arguably the most instantly-recognisable piece of Western art, the Mona Lisa occupies and symbolises a significant place within the artistic canon. When the Carters stand before the Mona Lisa, facing the camera rather than the painting, it appears as if the Mona Lisa is gazing at them instead of the other way around. The Carters build their statement around a famous painting by rearranging a hierarchy of subject and object; in the seconds before the couple turns and gazes directly at the Mona Lisa, the camera focuses on Marie-Guillemine Benoist's 'Portrait de Madeleine' from 1800. In this portrait, a black woman was portrayed in a respectful manner by one of the few women artists in that era, only 6 years after slavery was abolished in France. Following a closeup of a painting centred around a black woman, the Carters gaze into the Mona Lisa. The statement is over; they are the subject.
Our beloved queen is back! As she sits fearlessly on a transparent skeleton horse made of silver fireflies, one hand holding its neck and the other balancing her pose, her gaze is confidently directed at the viewers. There is no question who is the boss here; she is presented as a powerful queen, a goddess, a muse. Beyoncé's (very) new album cover, Renaissance, is yet another product of her long and notable rebranding since she launched her solo career in 2006. As part of this rebranding, she masterfully mixes historical art references into her videos, magazines, and album covers, which contribute to her image as an assertive goddess. Renaissance is another revival, or period of marked improvement and added life for her brand.
‘Visual’ (or Fine) art holds the ability to express ideas, emotions, and concepts in deep, simulating, and subtle layers, both in a direct or sophisticated manner. Whether in the use of aesthetics which associate with certain ideas and representations, or the lack of them, every visual art representation carries within it core meanings. Many artworks are filled with meanings acquired throughout space, time and history, and viewers perceive these messages, both consciously or not. Simply put, visual art and its representations can make one feel, understand and experience the world around them. Yet, visual art, or its representations and the ways it is being communicated, means and acts in many directions, from both the artist's perspective and taking other directions from each viewer's perspective.
Beyoncé understands the significance and the influence of this visual representation and the meanings it carries, first introduced to her by her mother, Tina Knowles Lawson, who is a collector of African American and women artists. Her collection is shown alongside a facility filled with books about Art history and theory. Since childhood, Beyoncé was encouraged by her mother to be able to reflect on herself through the use of positive, noble, strong images of African art, African American art, and female art. It is not surprising then, that these characteristics are the core heart of her brand image.
So, in light of this short intro, let's look at three of her art historical references (which you can also visit physically!) that contribute to establishing her brand image as a forceful, positive, strong and fearless woman.
Renaissance
Queen B's new album Renaissance's cover was shot by Dutch photographer Carlijn Jacobs and references the compositions and elements of the Pre-Raphaelite painting Lady Godiva by 19th-century English painter John Collier, on display at the Herbert Art Gallery & Museum in Coventry.
According to legend, Lady Godiva was an 11th-century noblewoman, who rode naked around the streets of Coventry, England, to gain remission from her husband's oppressive taxations on his people. To this day Lady Godiva's name is associated with justice and morality; she is still known as the protector of the people, and the way she manipulated her privilege is perceived as a heroic act. This reference is particularly interesting today when considering the American Supreme Court’s overturning Roe v. Wade, perhaps carrying the suggestion that Beyoncé is the people's protector?
Beyoncé’s 2017 Grammys Performance
In 2017, the heavily pregnant Beyoncé performed a breath-taking show at the Grammy Awards. The stage itself was outstanding, with a film by artist Awol Erizku playing in the background featuring many influential African and African American women, including her mother and daughter. Her outfit, designed by Peter Dundas, included a gold gown with golden accessories and a halo crown, referencing both the Virgin Mary and Oshun, the Yoruba goddess of water, purity, fertility, love, and sensuality. Yoruba mythology describes Oshun as one of the most effective orishas, always depicted with a golden gown and accessories, and is associated with female energy, leadership and beauty. The British Museum in London houses one of the most famous sculptures of Oshun, definitely standing as a must-visit! In addition to Oshun, Beyoncé's outfit depicts Christian imagery and resembles Mary, especially in her nimbus - the circular radius of a hal - which highlights her holiness.
Beyoncé's brand is all about a strong woman who bridges Western and non-Western cultures through her power and female leadership, similar to this outfit.
Apeshit music video
With over 10 million visitors in 2018, this video, directed by Ricky Saiz, has inspired many viewers to visit the Louvre (the number of visitors has increased by 25% compared to the past year). Beyoncé and Jay Z, two African American idols, stand alongside Western heroes, comparing and referencing themselves to the establishments of Western Culture, from ancient Greece to the Renaissance and neoclassicism. They begin by standing near two Greek and Roman goddesses' sculptures, inviting a direct connection between the two figures and themselves; Nikke, the goddess of victory in Greek mythology, and Venus from Milos, the goddess of beauty and love. There is an additional fascinating element created by the association between the couple and the Mona Lisa.
Arguably the most instantly-recognisable piece of Western art, the Mona Lisa occupies and symbolises a significant place within the artistic canon. When the Carters stand before the Mona Lisa, facing the camera rather than the painting, it appears as if the Mona Lisa is gazing at them instead of the other way around. The Carters build their statement around a famous painting by rearranging a hierarchy of subject and object; in the seconds before the couple turns and gazes directly at the Mona Lisa, the camera focuses on Marie-Guillemine Benoist's 'Portrait de Madeleine' from 1800. In this portrait, a black woman was portrayed in a respectful manner by one of the few women artists in that era, only 6 years after slavery was abolished in France. Following a closeup of a painting centred around a black woman, the Carters gaze into the Mona Lisa. The statement is over; they are the subject.
Our beloved queen is back! As she sits fearlessly on a transparent skeleton horse made of silver fireflies, one hand holding its neck and the other balancing her pose, her gaze is confidently directed at the viewers. There is no question who is the boss here; she is presented as a powerful queen, a goddess, a muse. Beyoncé's (very) new album cover, Renaissance, is yet another product of her long and notable rebranding since she launched her solo career in 2006. As part of this rebranding, she masterfully mixes historical art references into her videos, magazines, and album covers, which contribute to her image as an assertive goddess. Renaissance is another revival, or period of marked improvement and added life for her brand.
‘Visual’ (or Fine) art holds the ability to express ideas, emotions, and concepts in deep, simulating, and subtle layers, both in a direct or sophisticated manner. Whether in the use of aesthetics which associate with certain ideas and representations, or the lack of them, every visual art representation carries within it core meanings. Many artworks are filled with meanings acquired throughout space, time and history, and viewers perceive these messages, both consciously or not. Simply put, visual art and its representations can make one feel, understand and experience the world around them. Yet, visual art, or its representations and the ways it is being communicated, means and acts in many directions, from both the artist's perspective and taking other directions from each viewer's perspective.
Beyoncé understands the significance and the influence of this visual representation and the meanings it carries, first introduced to her by her mother, Tina Knowles Lawson, who is a collector of African American and women artists. Her collection is shown alongside a facility filled with books about Art history and theory. Since childhood, Beyoncé was encouraged by her mother to be able to reflect on herself through the use of positive, noble, strong images of African art, African American art, and female art. It is not surprising then, that these characteristics are the core heart of her brand image.
So, in light of this short intro, let's look at three of her art historical references (which you can also visit physically!) that contribute to establishing her brand image as a forceful, positive, strong and fearless woman.
Renaissance
Queen B's new album Renaissance's cover was shot by Dutch photographer Carlijn Jacobs and references the compositions and elements of the Pre-Raphaelite painting Lady Godiva by 19th-century English painter John Collier, on display at the Herbert Art Gallery & Museum in Coventry.
According to legend, Lady Godiva was an 11th-century noblewoman, who rode naked around the streets of Coventry, England, to gain remission from her husband's oppressive taxations on his people. To this day Lady Godiva's name is associated with justice and morality; she is still known as the protector of the people, and the way she manipulated her privilege is perceived as a heroic act. This reference is particularly interesting today when considering the American Supreme Court’s overturning Roe v. Wade, perhaps carrying the suggestion that Beyoncé is the people's protector?
Beyoncé’s 2017 Grammys Performance
In 2017, the heavily pregnant Beyoncé performed a breath-taking show at the Grammy Awards. The stage itself was outstanding, with a film by artist Awol Erizku playing in the background featuring many influential African and African American women, including her mother and daughter. Her outfit, designed by Peter Dundas, included a gold gown with golden accessories and a halo crown, referencing both the Virgin Mary and Oshun, the Yoruba goddess of water, purity, fertility, love, and sensuality. Yoruba mythology describes Oshun as one of the most effective orishas, always depicted with a golden gown and accessories, and is associated with female energy, leadership and beauty. The British Museum in London houses one of the most famous sculptures of Oshun, definitely standing as a must-visit! In addition to Oshun, Beyoncé's outfit depicts Christian imagery and resembles Mary, especially in her nimbus - the circular radius of a hal - which highlights her holiness.
Beyoncé's brand is all about a strong woman who bridges Western and non-Western cultures through her power and female leadership, similar to this outfit.
Apeshit music video
With over 10 million visitors in 2018, this video, directed by Ricky Saiz, has inspired many viewers to visit the Louvre (the number of visitors has increased by 25% compared to the past year). Beyoncé and Jay Z, two African American idols, stand alongside Western heroes, comparing and referencing themselves to the establishments of Western Culture, from ancient Greece to the Renaissance and neoclassicism. They begin by standing near two Greek and Roman goddesses' sculptures, inviting a direct connection between the two figures and themselves; Nikke, the goddess of victory in Greek mythology, and Venus from Milos, the goddess of beauty and love. There is an additional fascinating element created by the association between the couple and the Mona Lisa.
Arguably the most instantly-recognisable piece of Western art, the Mona Lisa occupies and symbolises a significant place within the artistic canon. When the Carters stand before the Mona Lisa, facing the camera rather than the painting, it appears as if the Mona Lisa is gazing at them instead of the other way around. The Carters build their statement around a famous painting by rearranging a hierarchy of subject and object; in the seconds before the couple turns and gazes directly at the Mona Lisa, the camera focuses on Marie-Guillemine Benoist's 'Portrait de Madeleine' from 1800. In this portrait, a black woman was portrayed in a respectful manner by one of the few women artists in that era, only 6 years after slavery was abolished in France. Following a closeup of a painting centred around a black woman, the Carters gaze into the Mona Lisa. The statement is over; they are the subject.
Our beloved queen is back! As she sits fearlessly on a transparent skeleton horse made of silver fireflies, one hand holding its neck and the other balancing her pose, her gaze is confidently directed at the viewers. There is no question who is the boss here; she is presented as a powerful queen, a goddess, a muse. Beyoncé's (very) new album cover, Renaissance, is yet another product of her long and notable rebranding since she launched her solo career in 2006. As part of this rebranding, she masterfully mixes historical art references into her videos, magazines, and album covers, which contribute to her image as an assertive goddess. Renaissance is another revival, or period of marked improvement and added life for her brand.
‘Visual’ (or Fine) art holds the ability to express ideas, emotions, and concepts in deep, simulating, and subtle layers, both in a direct or sophisticated manner. Whether in the use of aesthetics which associate with certain ideas and representations, or the lack of them, every visual art representation carries within it core meanings. Many artworks are filled with meanings acquired throughout space, time and history, and viewers perceive these messages, both consciously or not. Simply put, visual art and its representations can make one feel, understand and experience the world around them. Yet, visual art, or its representations and the ways it is being communicated, means and acts in many directions, from both the artist's perspective and taking other directions from each viewer's perspective.
Beyoncé understands the significance and the influence of this visual representation and the meanings it carries, first introduced to her by her mother, Tina Knowles Lawson, who is a collector of African American and women artists. Her collection is shown alongside a facility filled with books about Art history and theory. Since childhood, Beyoncé was encouraged by her mother to be able to reflect on herself through the use of positive, noble, strong images of African art, African American art, and female art. It is not surprising then, that these characteristics are the core heart of her brand image.
So, in light of this short intro, let's look at three of her art historical references (which you can also visit physically!) that contribute to establishing her brand image as a forceful, positive, strong and fearless woman.
Renaissance
Queen B's new album Renaissance's cover was shot by Dutch photographer Carlijn Jacobs and references the compositions and elements of the Pre-Raphaelite painting Lady Godiva by 19th-century English painter John Collier, on display at the Herbert Art Gallery & Museum in Coventry.
According to legend, Lady Godiva was an 11th-century noblewoman, who rode naked around the streets of Coventry, England, to gain remission from her husband's oppressive taxations on his people. To this day Lady Godiva's name is associated with justice and morality; she is still known as the protector of the people, and the way she manipulated her privilege is perceived as a heroic act. This reference is particularly interesting today when considering the American Supreme Court’s overturning Roe v. Wade, perhaps carrying the suggestion that Beyoncé is the people's protector?
Beyoncé’s 2017 Grammys Performance
In 2017, the heavily pregnant Beyoncé performed a breath-taking show at the Grammy Awards. The stage itself was outstanding, with a film by artist Awol Erizku playing in the background featuring many influential African and African American women, including her mother and daughter. Her outfit, designed by Peter Dundas, included a gold gown with golden accessories and a halo crown, referencing both the Virgin Mary and Oshun, the Yoruba goddess of water, purity, fertility, love, and sensuality. Yoruba mythology describes Oshun as one of the most effective orishas, always depicted with a golden gown and accessories, and is associated with female energy, leadership and beauty. The British Museum in London houses one of the most famous sculptures of Oshun, definitely standing as a must-visit! In addition to Oshun, Beyoncé's outfit depicts Christian imagery and resembles Mary, especially in her nimbus - the circular radius of a hal - which highlights her holiness.
Beyoncé's brand is all about a strong woman who bridges Western and non-Western cultures through her power and female leadership, similar to this outfit.
Apeshit music video
With over 10 million visitors in 2018, this video, directed by Ricky Saiz, has inspired many viewers to visit the Louvre (the number of visitors has increased by 25% compared to the past year). Beyoncé and Jay Z, two African American idols, stand alongside Western heroes, comparing and referencing themselves to the establishments of Western Culture, from ancient Greece to the Renaissance and neoclassicism. They begin by standing near two Greek and Roman goddesses' sculptures, inviting a direct connection between the two figures and themselves; Nikke, the goddess of victory in Greek mythology, and Venus from Milos, the goddess of beauty and love. There is an additional fascinating element created by the association between the couple and the Mona Lisa.
Arguably the most instantly-recognisable piece of Western art, the Mona Lisa occupies and symbolises a significant place within the artistic canon. When the Carters stand before the Mona Lisa, facing the camera rather than the painting, it appears as if the Mona Lisa is gazing at them instead of the other way around. The Carters build their statement around a famous painting by rearranging a hierarchy of subject and object; in the seconds before the couple turns and gazes directly at the Mona Lisa, the camera focuses on Marie-Guillemine Benoist's 'Portrait de Madeleine' from 1800. In this portrait, a black woman was portrayed in a respectful manner by one of the few women artists in that era, only 6 years after slavery was abolished in France. Following a closeup of a painting centred around a black woman, the Carters gaze into the Mona Lisa. The statement is over; they are the subject.
Our beloved queen is back! As she sits fearlessly on a transparent skeleton horse made of silver fireflies, one hand holding its neck and the other balancing her pose, her gaze is confidently directed at the viewers. There is no question who is the boss here; she is presented as a powerful queen, a goddess, a muse. Beyoncé's (very) new album cover, Renaissance, is yet another product of her long and notable rebranding since she launched her solo career in 2006. As part of this rebranding, she masterfully mixes historical art references into her videos, magazines, and album covers, which contribute to her image as an assertive goddess. Renaissance is another revival, or period of marked improvement and added life for her brand.
‘Visual’ (or Fine) art holds the ability to express ideas, emotions, and concepts in deep, simulating, and subtle layers, both in a direct or sophisticated manner. Whether in the use of aesthetics which associate with certain ideas and representations, or the lack of them, every visual art representation carries within it core meanings. Many artworks are filled with meanings acquired throughout space, time and history, and viewers perceive these messages, both consciously or not. Simply put, visual art and its representations can make one feel, understand and experience the world around them. Yet, visual art, or its representations and the ways it is being communicated, means and acts in many directions, from both the artist's perspective and taking other directions from each viewer's perspective.
Beyoncé understands the significance and the influence of this visual representation and the meanings it carries, first introduced to her by her mother, Tina Knowles Lawson, who is a collector of African American and women artists. Her collection is shown alongside a facility filled with books about Art history and theory. Since childhood, Beyoncé was encouraged by her mother to be able to reflect on herself through the use of positive, noble, strong images of African art, African American art, and female art. It is not surprising then, that these characteristics are the core heart of her brand image.
So, in light of this short intro, let's look at three of her art historical references (which you can also visit physically!) that contribute to establishing her brand image as a forceful, positive, strong and fearless woman.
Renaissance
Queen B's new album Renaissance's cover was shot by Dutch photographer Carlijn Jacobs and references the compositions and elements of the Pre-Raphaelite painting Lady Godiva by 19th-century English painter John Collier, on display at the Herbert Art Gallery & Museum in Coventry.
According to legend, Lady Godiva was an 11th-century noblewoman, who rode naked around the streets of Coventry, England, to gain remission from her husband's oppressive taxations on his people. To this day Lady Godiva's name is associated with justice and morality; she is still known as the protector of the people, and the way she manipulated her privilege is perceived as a heroic act. This reference is particularly interesting today when considering the American Supreme Court’s overturning Roe v. Wade, perhaps carrying the suggestion that Beyoncé is the people's protector?
Beyoncé’s 2017 Grammys Performance
In 2017, the heavily pregnant Beyoncé performed a breath-taking show at the Grammy Awards. The stage itself was outstanding, with a film by artist Awol Erizku playing in the background featuring many influential African and African American women, including her mother and daughter. Her outfit, designed by Peter Dundas, included a gold gown with golden accessories and a halo crown, referencing both the Virgin Mary and Oshun, the Yoruba goddess of water, purity, fertility, love, and sensuality. Yoruba mythology describes Oshun as one of the most effective orishas, always depicted with a golden gown and accessories, and is associated with female energy, leadership and beauty. The British Museum in London houses one of the most famous sculptures of Oshun, definitely standing as a must-visit! In addition to Oshun, Beyoncé's outfit depicts Christian imagery and resembles Mary, especially in her nimbus - the circular radius of a hal - which highlights her holiness.
Beyoncé's brand is all about a strong woman who bridges Western and non-Western cultures through her power and female leadership, similar to this outfit.
Apeshit music video
With over 10 million visitors in 2018, this video, directed by Ricky Saiz, has inspired many viewers to visit the Louvre (the number of visitors has increased by 25% compared to the past year). Beyoncé and Jay Z, two African American idols, stand alongside Western heroes, comparing and referencing themselves to the establishments of Western Culture, from ancient Greece to the Renaissance and neoclassicism. They begin by standing near two Greek and Roman goddesses' sculptures, inviting a direct connection between the two figures and themselves; Nikke, the goddess of victory in Greek mythology, and Venus from Milos, the goddess of beauty and love. There is an additional fascinating element created by the association between the couple and the Mona Lisa.
Arguably the most instantly-recognisable piece of Western art, the Mona Lisa occupies and symbolises a significant place within the artistic canon. When the Carters stand before the Mona Lisa, facing the camera rather than the painting, it appears as if the Mona Lisa is gazing at them instead of the other way around. The Carters build their statement around a famous painting by rearranging a hierarchy of subject and object; in the seconds before the couple turns and gazes directly at the Mona Lisa, the camera focuses on Marie-Guillemine Benoist's 'Portrait de Madeleine' from 1800. In this portrait, a black woman was portrayed in a respectful manner by one of the few women artists in that era, only 6 years after slavery was abolished in France. Following a closeup of a painting centred around a black woman, the Carters gaze into the Mona Lisa. The statement is over; they are the subject.
Our beloved queen is back! As she sits fearlessly on a transparent skeleton horse made of silver fireflies, one hand holding its neck and the other balancing her pose, her gaze is confidently directed at the viewers. There is no question who is the boss here; she is presented as a powerful queen, a goddess, a muse. Beyoncé's (very) new album cover, Renaissance, is yet another product of her long and notable rebranding since she launched her solo career in 2006. As part of this rebranding, she masterfully mixes historical art references into her videos, magazines, and album covers, which contribute to her image as an assertive goddess. Renaissance is another revival, or period of marked improvement and added life for her brand.
‘Visual’ (or Fine) art holds the ability to express ideas, emotions, and concepts in deep, simulating, and subtle layers, both in a direct or sophisticated manner. Whether in the use of aesthetics which associate with certain ideas and representations, or the lack of them, every visual art representation carries within it core meanings. Many artworks are filled with meanings acquired throughout space, time and history, and viewers perceive these messages, both consciously or not. Simply put, visual art and its representations can make one feel, understand and experience the world around them. Yet, visual art, or its representations and the ways it is being communicated, means and acts in many directions, from both the artist's perspective and taking other directions from each viewer's perspective.
Beyoncé understands the significance and the influence of this visual representation and the meanings it carries, first introduced to her by her mother, Tina Knowles Lawson, who is a collector of African American and women artists. Her collection is shown alongside a facility filled with books about Art history and theory. Since childhood, Beyoncé was encouraged by her mother to be able to reflect on herself through the use of positive, noble, strong images of African art, African American art, and female art. It is not surprising then, that these characteristics are the core heart of her brand image.
So, in light of this short intro, let's look at three of her art historical references (which you can also visit physically!) that contribute to establishing her brand image as a forceful, positive, strong and fearless woman.
Renaissance
Queen B's new album Renaissance's cover was shot by Dutch photographer Carlijn Jacobs and references the compositions and elements of the Pre-Raphaelite painting Lady Godiva by 19th-century English painter John Collier, on display at the Herbert Art Gallery & Museum in Coventry.
According to legend, Lady Godiva was an 11th-century noblewoman, who rode naked around the streets of Coventry, England, to gain remission from her husband's oppressive taxations on his people. To this day Lady Godiva's name is associated with justice and morality; she is still known as the protector of the people, and the way she manipulated her privilege is perceived as a heroic act. This reference is particularly interesting today when considering the American Supreme Court’s overturning Roe v. Wade, perhaps carrying the suggestion that Beyoncé is the people's protector?
Beyoncé’s 2017 Grammys Performance
In 2017, the heavily pregnant Beyoncé performed a breath-taking show at the Grammy Awards. The stage itself was outstanding, with a film by artist Awol Erizku playing in the background featuring many influential African and African American women, including her mother and daughter. Her outfit, designed by Peter Dundas, included a gold gown with golden accessories and a halo crown, referencing both the Virgin Mary and Oshun, the Yoruba goddess of water, purity, fertility, love, and sensuality. Yoruba mythology describes Oshun as one of the most effective orishas, always depicted with a golden gown and accessories, and is associated with female energy, leadership and beauty. The British Museum in London houses one of the most famous sculptures of Oshun, definitely standing as a must-visit! In addition to Oshun, Beyoncé's outfit depicts Christian imagery and resembles Mary, especially in her nimbus - the circular radius of a hal - which highlights her holiness.
Beyoncé's brand is all about a strong woman who bridges Western and non-Western cultures through her power and female leadership, similar to this outfit.
Apeshit music video
With over 10 million visitors in 2018, this video, directed by Ricky Saiz, has inspired many viewers to visit the Louvre (the number of visitors has increased by 25% compared to the past year). Beyoncé and Jay Z, two African American idols, stand alongside Western heroes, comparing and referencing themselves to the establishments of Western Culture, from ancient Greece to the Renaissance and neoclassicism. They begin by standing near two Greek and Roman goddesses' sculptures, inviting a direct connection between the two figures and themselves; Nikke, the goddess of victory in Greek mythology, and Venus from Milos, the goddess of beauty and love. There is an additional fascinating element created by the association between the couple and the Mona Lisa.
Arguably the most instantly-recognisable piece of Western art, the Mona Lisa occupies and symbolises a significant place within the artistic canon. When the Carters stand before the Mona Lisa, facing the camera rather than the painting, it appears as if the Mona Lisa is gazing at them instead of the other way around. The Carters build their statement around a famous painting by rearranging a hierarchy of subject and object; in the seconds before the couple turns and gazes directly at the Mona Lisa, the camera focuses on Marie-Guillemine Benoist's 'Portrait de Madeleine' from 1800. In this portrait, a black woman was portrayed in a respectful manner by one of the few women artists in that era, only 6 years after slavery was abolished in France. Following a closeup of a painting centred around a black woman, the Carters gaze into the Mona Lisa. The statement is over; they are the subject.
Our beloved queen is back! As she sits fearlessly on a transparent skeleton horse made of silver fireflies, one hand holding its neck and the other balancing her pose, her gaze is confidently directed at the viewers. There is no question who is the boss here; she is presented as a powerful queen, a goddess, a muse. Beyoncé's (very) new album cover, Renaissance, is yet another product of her long and notable rebranding since she launched her solo career in 2006. As part of this rebranding, she masterfully mixes historical art references into her videos, magazines, and album covers, which contribute to her image as an assertive goddess. Renaissance is another revival, or period of marked improvement and added life for her brand.
‘Visual’ (or Fine) art holds the ability to express ideas, emotions, and concepts in deep, simulating, and subtle layers, both in a direct or sophisticated manner. Whether in the use of aesthetics which associate with certain ideas and representations, or the lack of them, every visual art representation carries within it core meanings. Many artworks are filled with meanings acquired throughout space, time and history, and viewers perceive these messages, both consciously or not. Simply put, visual art and its representations can make one feel, understand and experience the world around them. Yet, visual art, or its representations and the ways it is being communicated, means and acts in many directions, from both the artist's perspective and taking other directions from each viewer's perspective.
Beyoncé understands the significance and the influence of this visual representation and the meanings it carries, first introduced to her by her mother, Tina Knowles Lawson, who is a collector of African American and women artists. Her collection is shown alongside a facility filled with books about Art history and theory. Since childhood, Beyoncé was encouraged by her mother to be able to reflect on herself through the use of positive, noble, strong images of African art, African American art, and female art. It is not surprising then, that these characteristics are the core heart of her brand image.
So, in light of this short intro, let's look at three of her art historical references (which you can also visit physically!) that contribute to establishing her brand image as a forceful, positive, strong and fearless woman.
Renaissance
Queen B's new album Renaissance's cover was shot by Dutch photographer Carlijn Jacobs and references the compositions and elements of the Pre-Raphaelite painting Lady Godiva by 19th-century English painter John Collier, on display at the Herbert Art Gallery & Museum in Coventry.
According to legend, Lady Godiva was an 11th-century noblewoman, who rode naked around the streets of Coventry, England, to gain remission from her husband's oppressive taxations on his people. To this day Lady Godiva's name is associated with justice and morality; she is still known as the protector of the people, and the way she manipulated her privilege is perceived as a heroic act. This reference is particularly interesting today when considering the American Supreme Court’s overturning Roe v. Wade, perhaps carrying the suggestion that Beyoncé is the people's protector?
Beyoncé’s 2017 Grammys Performance
In 2017, the heavily pregnant Beyoncé performed a breath-taking show at the Grammy Awards. The stage itself was outstanding, with a film by artist Awol Erizku playing in the background featuring many influential African and African American women, including her mother and daughter. Her outfit, designed by Peter Dundas, included a gold gown with golden accessories and a halo crown, referencing both the Virgin Mary and Oshun, the Yoruba goddess of water, purity, fertility, love, and sensuality. Yoruba mythology describes Oshun as one of the most effective orishas, always depicted with a golden gown and accessories, and is associated with female energy, leadership and beauty. The British Museum in London houses one of the most famous sculptures of Oshun, definitely standing as a must-visit! In addition to Oshun, Beyoncé's outfit depicts Christian imagery and resembles Mary, especially in her nimbus - the circular radius of a hal - which highlights her holiness.
Beyoncé's brand is all about a strong woman who bridges Western and non-Western cultures through her power and female leadership, similar to this outfit.
Apeshit music video
With over 10 million visitors in 2018, this video, directed by Ricky Saiz, has inspired many viewers to visit the Louvre (the number of visitors has increased by 25% compared to the past year). Beyoncé and Jay Z, two African American idols, stand alongside Western heroes, comparing and referencing themselves to the establishments of Western Culture, from ancient Greece to the Renaissance and neoclassicism. They begin by standing near two Greek and Roman goddesses' sculptures, inviting a direct connection between the two figures and themselves; Nikke, the goddess of victory in Greek mythology, and Venus from Milos, the goddess of beauty and love. There is an additional fascinating element created by the association between the couple and the Mona Lisa.
Arguably the most instantly-recognisable piece of Western art, the Mona Lisa occupies and symbolises a significant place within the artistic canon. When the Carters stand before the Mona Lisa, facing the camera rather than the painting, it appears as if the Mona Lisa is gazing at them instead of the other way around. The Carters build their statement around a famous painting by rearranging a hierarchy of subject and object; in the seconds before the couple turns and gazes directly at the Mona Lisa, the camera focuses on Marie-Guillemine Benoist's 'Portrait de Madeleine' from 1800. In this portrait, a black woman was portrayed in a respectful manner by one of the few women artists in that era, only 6 years after slavery was abolished in France. Following a closeup of a painting centred around a black woman, the Carters gaze into the Mona Lisa. The statement is over; they are the subject.
Our beloved queen is back! As she sits fearlessly on a transparent skeleton horse made of silver fireflies, one hand holding its neck and the other balancing her pose, her gaze is confidently directed at the viewers. There is no question who is the boss here; she is presented as a powerful queen, a goddess, a muse. Beyoncé's (very) new album cover, Renaissance, is yet another product of her long and notable rebranding since she launched her solo career in 2006. As part of this rebranding, she masterfully mixes historical art references into her videos, magazines, and album covers, which contribute to her image as an assertive goddess. Renaissance is another revival, or period of marked improvement and added life for her brand.
‘Visual’ (or Fine) art holds the ability to express ideas, emotions, and concepts in deep, simulating, and subtle layers, both in a direct or sophisticated manner. Whether in the use of aesthetics which associate with certain ideas and representations, or the lack of them, every visual art representation carries within it core meanings. Many artworks are filled with meanings acquired throughout space, time and history, and viewers perceive these messages, both consciously or not. Simply put, visual art and its representations can make one feel, understand and experience the world around them. Yet, visual art, or its representations and the ways it is being communicated, means and acts in many directions, from both the artist's perspective and taking other directions from each viewer's perspective.
Beyoncé understands the significance and the influence of this visual representation and the meanings it carries, first introduced to her by her mother, Tina Knowles Lawson, who is a collector of African American and women artists. Her collection is shown alongside a facility filled with books about Art history and theory. Since childhood, Beyoncé was encouraged by her mother to be able to reflect on herself through the use of positive, noble, strong images of African art, African American art, and female art. It is not surprising then, that these characteristics are the core heart of her brand image.
So, in light of this short intro, let's look at three of her art historical references (which you can also visit physically!) that contribute to establishing her brand image as a forceful, positive, strong and fearless woman.
Renaissance
Queen B's new album Renaissance's cover was shot by Dutch photographer Carlijn Jacobs and references the compositions and elements of the Pre-Raphaelite painting Lady Godiva by 19th-century English painter John Collier, on display at the Herbert Art Gallery & Museum in Coventry.
According to legend, Lady Godiva was an 11th-century noblewoman, who rode naked around the streets of Coventry, England, to gain remission from her husband's oppressive taxations on his people. To this day Lady Godiva's name is associated with justice and morality; she is still known as the protector of the people, and the way she manipulated her privilege is perceived as a heroic act. This reference is particularly interesting today when considering the American Supreme Court’s overturning Roe v. Wade, perhaps carrying the suggestion that Beyoncé is the people's protector?
Beyoncé’s 2017 Grammys Performance
In 2017, the heavily pregnant Beyoncé performed a breath-taking show at the Grammy Awards. The stage itself was outstanding, with a film by artist Awol Erizku playing in the background featuring many influential African and African American women, including her mother and daughter. Her outfit, designed by Peter Dundas, included a gold gown with golden accessories and a halo crown, referencing both the Virgin Mary and Oshun, the Yoruba goddess of water, purity, fertility, love, and sensuality. Yoruba mythology describes Oshun as one of the most effective orishas, always depicted with a golden gown and accessories, and is associated with female energy, leadership and beauty. The British Museum in London houses one of the most famous sculptures of Oshun, definitely standing as a must-visit! In addition to Oshun, Beyoncé's outfit depicts Christian imagery and resembles Mary, especially in her nimbus - the circular radius of a hal - which highlights her holiness.
Beyoncé's brand is all about a strong woman who bridges Western and non-Western cultures through her power and female leadership, similar to this outfit.
Apeshit music video
With over 10 million visitors in 2018, this video, directed by Ricky Saiz, has inspired many viewers to visit the Louvre (the number of visitors has increased by 25% compared to the past year). Beyoncé and Jay Z, two African American idols, stand alongside Western heroes, comparing and referencing themselves to the establishments of Western Culture, from ancient Greece to the Renaissance and neoclassicism. They begin by standing near two Greek and Roman goddesses' sculptures, inviting a direct connection between the two figures and themselves; Nikke, the goddess of victory in Greek mythology, and Venus from Milos, the goddess of beauty and love. There is an additional fascinating element created by the association between the couple and the Mona Lisa.
Arguably the most instantly-recognisable piece of Western art, the Mona Lisa occupies and symbolises a significant place within the artistic canon. When the Carters stand before the Mona Lisa, facing the camera rather than the painting, it appears as if the Mona Lisa is gazing at them instead of the other way around. The Carters build their statement around a famous painting by rearranging a hierarchy of subject and object; in the seconds before the couple turns and gazes directly at the Mona Lisa, the camera focuses on Marie-Guillemine Benoist's 'Portrait de Madeleine' from 1800. In this portrait, a black woman was portrayed in a respectful manner by one of the few women artists in that era, only 6 years after slavery was abolished in France. Following a closeup of a painting centred around a black woman, the Carters gaze into the Mona Lisa. The statement is over; they are the subject.
