{"id":190,"date":"2013-01-18T16:21:03","date_gmt":"2013-01-18T15:21:03","guid":{"rendered":"http:\/\/culturedallroundman.com\/?p=190"},"modified":"2022-04-10T19:37:09","modified_gmt":"2022-04-10T17:37:09","slug":"banks-of-the-marne-by-cezanne","status":"publish","type":"post","link":"https:\/\/culturedarm.com\/staging\/5793\/banks-of-the-marne-by-cezanne\/","title":{"rendered":"Banks of the Marne by Paul C\u00e9zanne"},"content":{"rendered":"

\"banks-of-the-marne\"<\/a><\/p>\n

The Hermitage Amsterdam is currently home to two complementary exhibitions. The first,\u00a0Impressionism: Sensation and Inspiration<\/em>, with a tagline explaining that the works on display are ‘Highlights from the Hermitage’, endeavours to place the Impressionists within their French Nineteenth Century context. It shows Neoclassicists Alexandre Cabanel and\u00a0Jean-L\u00e9on G\u00e9r\u00f4me, the Romanticism of Delacroix – who Van Gogh regarded as the supreme colourist, and about whom he wrote in September, 1888:<\/p>\n

‘Now, it is true that I see in impressionism a resurrection of Eug\u00e8ne Delacroix, but as the interpretations are both divergent and also rather irreconcilable, impressionism cannot yet formulate a doctrine. That is why I am staying with the impressionists, because it means nothing, and commits you to nothing, and as one of them I do not have to take up any position.’<\/em><\/p>\n

–\u00a0and intermediaries, including Charles-Fran\u00e7ois Daubigny and Carolus-Duran, alongside\u00a0Monet, Pissarro, Degas, Sisley and Renoir.<\/p>\n

The second exhibition, entitled simply\u00a0Vincent<\/em>, with the subtitle ‘The Van Gogh Museum at the Hermitage’, shows a selection from the Van Gogh Museum’s collection whilst that museum is undergoing refurbishment in order to meet updated Dutch safety and security regulations. The exhibition is organised thematically rather than chronologically, the seven themes comprising, in order, ‘Practice makes perfect’, ‘A style of his own’, ‘The effect of colour’, ‘Peasant painter’, ‘Looking to Japan’, ‘The modern portrait’, and ‘The wealth of nature’. Whilst some of the earlier themes in particular are conceptually slight, the exhibition itself is coherent and succeeds in providing novel points of connection.\u00a0Impressionism<\/em> is open until January 27; whereas Vincent<\/em> will run until the end of April, when the Van Gogh Museum will reopen with a major exhibition celebrating the museum’s fortieth anniversary, to be called\u00a0Van Gogh at Work<\/em>.<\/p>\n

I visited Impressionism<\/em> last weekend, and especially admired a painting by C\u00e9zanne, Banks of the Marne<\/em> (1888). C\u00e9zanne achieves in this painting one of the purest and most convincing depictions of water I’ve seen; and he does this by largely replicating the river bank in the water below, presenting a reflection that is almost a mirror image. The trees and the residence on land appear reflected at the same angle, and with the same dimensions. C\u00e9zanne’s palette – with its predominant blue-greens offset by the white villa and its ochre roof and balcony – also remains constant, with the darker tones in the water serving to differentiate and providing a sense of depth. Whilst there is nothing amounting to a rippled brushstroke, the short and dense diagonals which give the trees their matter are replaced in C\u00e9zanne’s water by looser horizontals.<\/p>\n

Around 1888 when C\u00e9zanne painted Banks of the Marne<\/em>, he also worked on a number of other water paintings, experimenting with different ways of representing, different ways of bringing his canvases together. Bridge over the Marne at Cr\u00e9teil<\/em>, with its view looking down the river, features geometric curves and larger blocks of colour as trees, reflected in the water with vertical rather than horizontal brushwork. From the same period, the more abstract Bridge over a Pool<\/em>\u00a0consists of a mass of vivid green diagonals which encroach upon and enclose the bridge, the water only delineated by some darker tones and shadows; and Aqueduct and Lock<\/em>\u00a0repeats Banks of the Marne<\/em>‘s trick, the aqueduct immediately mirrored in the water below, here slightly extended and outlined, with unfastened foliage hovering above on each side.<\/p>\n

Banks of the Marne<\/em>\u00a0recalls an earlier work, Zola’s House at M\u00e9dan<\/em> (or Le Ch\u00e2teau de M\u00e9dan<\/em>), which C\u00e9zanne completed between 1879 and 1881, Zola having bought the house in 1878. The painting depicts the banks of the Seine – of which the Marne is a tributary, running southeast from Paris – in an unusually rigid and symmetrical fashion: whereas Banks of the Marne<\/em> is broadly split into river bank and river, here the canvas is divided into the five horizontal sections of river, river bank, houses, hills and sky, with tall trees rising vertically at regular intervals between the houses. C\u00e9zanne’s palette is much brighter, the sensation sunnier, with intense yellows, greens and ochres and a bold blue sky. Still, both paintings confront the viewer in a similar way: we look directly across a stretch of water towards a river bank, densely leafy, something solidly constructed and impenetrable. Like in the later painting, so here C\u00e9zanne indicates those reflections in the water through more loosely painted, horizontal brushstrokes.<\/p>\n

<\/div>\n

De Leeuw, R. (ed.) The Letters of Vincent van Gogh<\/em>, trans. A. Pomerans (Penguin, 1997)<\/p>\n","protected":false},"excerpt":{"rendered":"

The Hermitage Amsterdam is currently home to two complementary exhibitions. The first,\u00a0Impressionism: Sensation and Inspiration, with a tagline explaining that the works on display are ‘Highlights from the Hermitage’, endeavours to place the Impressionists within their French Nineteenth Century context. It shows Neoclassicists Alexandre Cabanel and\u00a0Jean-L\u00e9on G\u00e9r\u00f4me, the Romanticism of Delacroix – who Van Gogh […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"nf_dc_page":"","_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","enabled":false},"version":2}},"categories":[3874],"tags":[670,1502,2531,3432,3483],"class_list":{"0":"post-190","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-art","7":"tag-cezanne","8":"tag-hermitage-amsterdam","9":"tag-post-impressionism","10":"tag-van-gogh-letters","11":"tag-vincent-van-gogh"},"jetpack_publicize_connections":[],"yoast_head":"\nBanks of the Marne, by C\u00e9zanne<\/title>\n<meta name=\"description\" content=\"An analysis of Banks of the Marne by C\u00e9zanne, after a viewing during the exhibition 'Impressionism: Sensation and Inspiration' at the Hermitage Amsterdam.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/culturedarm.com\/banks-of-the-marne-by-cezanne\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Banks of the Marne, by C\u00e9zanne\" \/>\n<meta property=\"og:description\" content=\"An analysis of Banks of the Marne by C\u00e9zanne, following a viewing during the exhibition 'Impressionism: Sensation and Inspiration' at the Hermitage Amsterdam.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/culturedarm.com\/banks-of-the-marne-by-cezanne\/\" \/>\n<meta property=\"og:site_name\" content=\"Culturedarm\" \/>\n<meta property=\"article:author\" content=\"https:\/\/www.facebook.com\/culturedallroundman\" \/>\n<meta property=\"article:published_time\" content=\"2013-01-18T15:21:03+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2022-04-10T17:37:09+00:00\" \/>\n<meta name=\"author\" content=\"Christopher Laws\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:image\" content=\"http:\/\/www.culturedarm.com\/wp-content\/uploads\/2013\/01\/banks-of-the-marne1.jpg\" \/>\n<meta name=\"twitter:creator\" content=\"@https:\/\/twitter.com\/culturedarm\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Christopher Laws\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"4 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/culturedarm.com\/banks-of-the-marne-by-cezanne\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/culturedarm.com\/banks-of-the-marne-by-cezanne\/\"},\"author\":{\"name\":\"Christopher Laws\",\"@id\":\"http:\/\/culturedarm.com\/#\/schema\/person\/9034b985ef3e4c9cea454b05beb6a4f5\"},\"headline\":\"Banks of the Marne by Paul C\u00e9zanne\",\"datePublished\":\"2013-01-18T15:21:03+00:00\",\"dateModified\":\"2022-04-10T17:37:09+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/culturedarm.com\/banks-of-the-marne-by-cezanne\/\"},\"wordCount\":775,\"commentCount\":8,\"publisher\":{\"@id\":\"http:\/\/culturedarm.com\/#organization\"},\"image\":{\"@id\":\"https:\/\/culturedarm.com\/banks-of-the-marne-by-cezanne\/#primaryimage\"},\"thumbnailUrl\":\"http:\/\/www.culturedarm.com\/wp-content\/uploads\/2013\/01\/banks-of-the-marne1.jpg\",\"keywords\":[\"C\u00e9zanne\",\"Hermitage Amsterdam\",\"Post-Impressionism\",\"Van Gogh Letters\",\"Vincent van Gogh\"],\"articleSection\":[\"Art\"],\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"https:\/\/culturedarm.com\/banks-of-the-marne-by-cezanne\/#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/culturedarm.com\/banks-of-the-marne-by-cezanne\/\",\"url\":\"https:\/\/culturedarm.com\/banks-of-the-marne-by-cezanne\/\",\"name\":\"Banks of the Marne, by C\u00e9zanne\",\"isPartOf\":{\"@id\":\"http:\/\/culturedarm.com\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\/\/culturedarm.com\/banks-of-the-marne-by-cezanne\/#primaryimage\"},\"image\":{\"@id\":\"https:\/\/culturedarm.com\/banks-of-the-marne-by-cezanne\/#primaryimage\"},\"thumbnailUrl\":\"http:\/\/www.culturedarm.com\/wp-content\/uploads\/2013\/01\/banks-of-the-marne1.jpg\",\"datePublished\":\"2013-01-18T15:21:03+00:00\",\"dateModified\":\"2022-04-10T17:37:09+00:00\",\"description\":\"An analysis of Banks of the Marne by C\u00e9zanne, after a viewing during the exhibition 'Impressionism: Sensation and Inspiration' at the Hermitage Amsterdam.\",\"breadcrumb\":{\"@id\":\"https:\/\/culturedarm.com\/banks-of-the-marne-by-cezanne\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/culturedarm.com\/banks-of-the-marne-by-cezanne\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/culturedarm.com\/banks-of-the-marne-by-cezanne\/#primaryimage\",\"url\":\"http:\/\/www.culturedarm.com\/wp-content\/uploads\/2013\/01\/banks-of-the-marne1.jpg\",\"contentUrl\":\"http:\/\/www.culturedarm.com\/wp-content\/uploads\/2013\/01\/banks-of-the-marne1.jpg\"},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/culturedarm.com\/banks-of-the-marne-by-cezanne\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\/\/culturedarm.com\/staging\/5793\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Banks of the Marne by Paul C\u00e9zanne\"}]},{\"@type\":\"WebSite\",\"@id\":\"http:\/\/culturedarm.com\/#website\",\"url\":\"http:\/\/culturedarm.com\/\",\"name\":\"Culturedarm\",\"description\":\"Where the Strands of Culture Entwine\",\"publisher\":{\"@id\":\"http:\/\/culturedarm.com\/#organization\"},\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"http:\/\/culturedarm.com\/?s={search_term_string}\"},\"query-input\":{\"@type\":\"PropertyValueSpecification\",\"valueRequired\":true,\"valueName\":\"search_term_string\"}}],\"inLanguage\":\"en-US\"},{\"@type\":\"Organization\",\"@id\":\"http:\/\/culturedarm.com\/#organization\",\"name\":\"Culturedarm\",\"url\":\"http:\/\/culturedarm.com\/\",\"logo\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"http:\/\/culturedarm.com\/#\/schema\/logo\/image\/\",\"url\":\"https:\/\/i0.wp.com\/culturedarm.com\/wp-content\/uploads\/Culturedarm-Key-Logo.png?fit=2000%2C2000&ssl=1\",\"contentUrl\":\"https:\/\/i0.wp.com\/culturedarm.com\/wp-content\/uploads\/Culturedarm-Key-Logo.png?fit=2000%2C2000&ssl=1\",\"width\":2000,\"height\":2000,\"caption\":\"Culturedarm\"},\"image\":{\"@id\":\"http:\/\/culturedarm.com\/#\/schema\/logo\/image\/\"}},{\"@type\":\"Person\",\"@id\":\"http:\/\/culturedarm.com\/#\/schema\/person\/9034b985ef3e4c9cea454b05beb6a4f5\",\"name\":\"Christopher Laws\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"http:\/\/culturedarm.com\/#\/schema\/person\/image\/\",\"url\":\"https:\/\/secure.gravatar.com\/avatar\/4a2f9388be3e41f27f43fe51224069a624b67a359c37fc47507eebac44221719?s=96&d=retro&r=g\",\"contentUrl\":\"https:\/\/secure.gravatar.com\/avatar\/4a2f9388be3e41f27f43fe51224069a624b67a359c37fc47507eebac44221719?s=96&d=retro&r=g\",\"caption\":\"Christopher Laws\"},\"description\":\"Christopher Laws is the writer and editor of Culturedarm, currently based in Ume\u00e5, Sweden.\",\"sameAs\":[\"http:\/\/www.culturedarm.com\",\"https:\/\/www.facebook.com\/culturedallroundman\",\"http:\/\/instagram.com\/culturedarm\",\"https:\/\/x.com\/https:\/\/twitter.com\/culturedarm\"]}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"Banks of the Marne, by C\u00e9zanne","description":"An analysis of Banks of the Marne by C\u00e9zanne, after a viewing during the exhibition 'Impressionism: Sensation and Inspiration' at the Hermitage Amsterdam.","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/culturedarm.com\/banks-of-the-marne-by-cezanne\/","og_locale":"en_US","og_type":"article","og_title":"Banks of the Marne, by C\u00e9zanne","og_description":"An analysis of Banks of the Marne by C\u00e9zanne, following a viewing during the exhibition 'Impressionism: Sensation and Inspiration' at the Hermitage Amsterdam.","og_url":"https:\/\/culturedarm.com\/banks-of-the-marne-by-cezanne\/","og_site_name":"Culturedarm","article_author":"https:\/\/www.facebook.com\/culturedallroundman","article_published_time":"2013-01-18T15:21:03+00:00","article_modified_time":"2022-04-10T17:37:09+00:00","author":"Christopher Laws","twitter_card":"summary_large_image","twitter_image":"http:\/\/www.culturedarm.com\/wp-content\/uploads\/2013\/01\/banks-of-the-marne1.jpg","twitter_creator":"@https:\/\/twitter.com\/culturedarm","twitter_misc":{"Written by":"Christopher Laws","Est. reading time":"4 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/culturedarm.com\/banks-of-the-marne-by-cezanne\/#article","isPartOf":{"@id":"https:\/\/culturedarm.com\/banks-of-the-marne-by-cezanne\/"},"author":{"name":"Christopher Laws","@id":"http:\/\/culturedarm.com\/#\/schema\/person\/9034b985ef3e4c9cea454b05beb6a4f5"},"headline":"Banks of the Marne by Paul C\u00e9zanne","datePublished":"2013-01-18T15:21:03+00:00","dateModified":"2022-04-10T17:37:09+00:00","mainEntityOfPage":{"@id":"https:\/\/culturedarm.com\/banks-of-the-marne-by-cezanne\/"},"wordCount":775,"commentCount":8,"publisher":{"@id":"http:\/\/culturedarm.com\/#organization"},"image":{"@id":"https:\/\/culturedarm.com\/banks-of-the-marne-by-cezanne\/#primaryimage"},"thumbnailUrl":"http:\/\/www.culturedarm.com\/wp-content\/uploads\/2013\/01\/banks-of-the-marne1.jpg","keywords":["C\u00e9zanne","Hermitage Amsterdam","Post-Impressionism","Van Gogh Letters","Vincent van Gogh"],"articleSection":["Art"],"inLanguage":"en-US","potentialAction":[{"@type":"CommentAction","name":"Comment","target":["https:\/\/culturedarm.com\/banks-of-the-marne-by-cezanne\/#respond"]}]},{"@type":"WebPage","@id":"https:\/\/culturedarm.com\/banks-of-the-marne-by-cezanne\/","url":"https:\/\/culturedarm.com\/banks-of-the-marne-by-cezanne\/","name":"Banks of the Marne, by C\u00e9zanne","isPartOf":{"@id":"http:\/\/culturedarm.com\/#website"},"primaryImageOfPage":{"@id":"https:\/\/culturedarm.com\/banks-of-the-marne-by-cezanne\/#primaryimage"},"image":{"@id":"https:\/\/culturedarm.com\/banks-of-the-marne-by-cezanne\/#primaryimage"},"thumbnailUrl":"http:\/\/www.culturedarm.com\/wp-content\/uploads\/2013\/01\/banks-of-the-marne1.jpg","datePublished":"2013-01-18T15:21:03+00:00","dateModified":"2022-04-10T17:37:09+00:00","description":"An analysis of Banks of the Marne by C\u00e9zanne, after a viewing during the exhibition 'Impressionism: Sensation and Inspiration' at the Hermitage Amsterdam.","breadcrumb":{"@id":"https:\/\/culturedarm.com\/banks-of-the-marne-by-cezanne\/#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/culturedarm.com\/banks-of-the-marne-by-cezanne\/"]}]},{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/culturedarm.com\/banks-of-the-marne-by-cezanne\/#primaryimage","url":"http:\/\/www.culturedarm.com\/wp-content\/uploads\/2013\/01\/banks-of-the-marne1.jpg","contentUrl":"http:\/\/www.culturedarm.com\/wp-content\/uploads\/2013\/01\/banks-of-the-marne1.jpg"},{"@type":"BreadcrumbList","@id":"https:\/\/culturedarm.com\/banks-of-the-marne-by-cezanne\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/culturedarm.com\/staging\/5793\/"},{"@type":"ListItem","position":2,"name":"Banks of the Marne by Paul C\u00e9zanne"}]},{"@type":"WebSite","@id":"http:\/\/culturedarm.com\/#website","url":"http:\/\/culturedarm.com\/","name":"Culturedarm","description":"Where the Strands of Culture Entwine","publisher":{"@id":"http:\/\/culturedarm.com\/#organization"},"potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"http:\/\/culturedarm.com\/?s={search_term_string}"},"query-input":{"@type":"PropertyValueSpecification","valueRequired":true,"valueName":"search_term_string"}}],"inLanguage":"en-US"},{"@type":"Organization","@id":"http:\/\/culturedarm.com\/#organization","name":"Culturedarm","url":"http:\/\/culturedarm.com\/","logo":{"@type":"ImageObject","inLanguage":"en-US","@id":"http:\/\/culturedarm.com\/#\/schema\/logo\/image\/","url":"https:\/\/i0.wp.com\/culturedarm.com\/wp-content\/uploads\/Culturedarm-Key-Logo.png?fit=2000%2C2000&ssl=1","contentUrl":"https:\/\/i0.wp.com\/culturedarm.com\/wp-content\/uploads\/Culturedarm-Key-Logo.png?fit=2000%2C2000&ssl=1","width":2000,"height":2000,"caption":"Culturedarm"},"image":{"@id":"http:\/\/culturedarm.com\/#\/schema\/logo\/image\/"}},{"@type":"Person","@id":"http:\/\/culturedarm.com\/#\/schema\/person\/9034b985ef3e4c9cea454b05beb6a4f5","name":"Christopher Laws","image":{"@type":"ImageObject","inLanguage":"en-US","@id":"http:\/\/culturedarm.com\/#\/schema\/person\/image\/","url":"https:\/\/secure.gravatar.com\/avatar\/4a2f9388be3e41f27f43fe51224069a624b67a359c37fc47507eebac44221719?s=96&d=retro&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/4a2f9388be3e41f27f43fe51224069a624b67a359c37fc47507eebac44221719?s=96&d=retro&r=g","caption":"Christopher Laws"},"description":"Christopher Laws is the writer and editor of Culturedarm, currently based in Ume\u00e5, Sweden.","sameAs":["http:\/\/www.culturedarm.com","https:\/\/www.facebook.com\/culturedallroundman","http:\/\/instagram.com\/culturedarm","https:\/\/x.com\/https:\/\/twitter.com\/culturedarm"]}]}},"jetpack_featured_media_url":"","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/pg4g5X-34","_links":{"self":[{"href":"https:\/\/culturedarm.com\/staging\/5793\/wp-json\/wp\/v2\/posts\/190","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/culturedarm.com\/staging\/5793\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/culturedarm.com\/staging\/5793\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/culturedarm.com\/staging\/5793\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/culturedarm.com\/staging\/5793\/wp-json\/wp\/v2\/comments?post=190"}],"version-history":[{"count":5,"href":"https:\/\/culturedarm.com\/staging\/5793\/wp-json\/wp\/v2\/posts\/190\/revisions"}],"predecessor-version":[{"id":55274,"href":"https:\/\/culturedarm.com\/staging\/5793\/wp-json\/wp\/v2\/posts\/190\/revisions\/55274"}],"wp:attachment":[{"href":"https:\/\/culturedarm.com\/staging\/5793\/wp-json\/wp\/v2\/media?parent=190"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/culturedarm.com\/staging\/5793\/wp-json\/wp\/v2\/categories?post=190"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/culturedarm.com\/staging\/5793\/wp-json\/wp\/v2\/tags?post=190"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}