(“Blue, my greatest creation was you,” proclaims one of the snippets of text on the website, most of them written by Warsan Shire, the poet whose work was featured prominently in “Lemonade.”) And it’s especially potent since it, like “Lemonade,” represents a wresting away of power from the patriarchy. It’s art, though, because it transcends the moment: because it gives potent voice to a universal experience, with Beyoncé becoming the stand-in for every woman, and her child becoming her most significant creative achievement. (Is the rose by her foot a kind of memento mori? Does the pink bow on her bra signal that one baby is a girl?) Flowers stand in for the mystery of life and death and fertility and fecundity the veil, like her belly, simultaneously exposes and conceals and every bit of the image pulses with symbolic potential. She is a Renaissance Madonna channeled by Frida Kahlo and staged by the photographer Jeff Wall she is a Dutch genre painting cross-pollinated with Anne Geddes’ baby pictures and Technicolor kitsch a la Pierre and Gilles.
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The singer kneels, wearing only a bra and panties, and stares out at the camera through a pale green veil draped over her head, her hands caressing her rounding belly, while behind her a huge arrangement of flowers rises like a halo, a frame, a crown. Beyoncé announced on Wednesday that she was pregnant with twins through an Instagram photo that immediately became the most-liked image in Instagram history (8.6 million likes and counting) and that hit virtually every trope of femininity and fertility in the art history book.