MUCH has been said and written in both social and traditional media about the condescending overtones as well as the blatant mockery of and disrespect for one of the most iconic scenes ever painted and its relevance to Christianity that was displayed during the opening ceremony of the Paris 2024 Olympic Games.
It was supposed to be an artistic demonstration of the culture of France in art form, and from the city known for its moniker “La Ville Lumière” (City of Light), where in the 18th century it was a magnet for great thinkers in the field of philosophy, religion, literature, art, cuisine, scholarly pursuits and, of course, as the epitome of love.