{"id":91935,"date":"2015-11-13T12:33:18","date_gmt":"2015-11-13T17:33:18","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=91935"},"modified":"2015-11-18T15:57:02","modified_gmt":"2015-11-18T20:57:02","slug":"paint-to-end-painting","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2015\/11\/13\/paint-to-end-painting\/","title":{"rendered":"Paint to End Painting"},"content":{"rendered":"

Brice Marden\u2019s notebooks.<\/em><\/p>\n

\"\"<\/a>

An installation view from Karma. All images courtesy Karma Gallery<\/p><\/div>\n

On a page of his 1964\u201367 journal, underneath a small cutout of Manet\u2019s 1862 painting of Victorine Meurent, Brice Marden wrote, \u201cC\u00e9zanne tried to kill painting by denying forms for the sake of painting. He seems to have come closest to painting painting out \u2026 I think a painter should paint to end painting for himself and some others. With this in mind and man in mind it seems inevitable that painting will go on.\u201d<\/p>\n

Now two of Marden\u2019s journals have been exquisitely printed by the New York\u2013based publishing imprint Karma<\/a>, in whose gallery space the drawings, the journals, and a monochrome painting\u2014Portrait<\/em> (1964\u201365)\u2014are on display. With their daily ephemera and cogitations, the notebooks provide an instructive and often amusing counterpart to Marden\u2019s most recent body of work, which opened at Matthew Marks Gallery<\/a> last week. There is an inevitable link between Marden\u2019s early work and now.\u00a0<\/p>\n

With the contemporary works, Marden has returned to monochrome painting, diverging from the calligraphic paintings that have dominated the past three decades. The work is demonstrative\u2014Marden deploys an encaustic technique that borrows from Jasper Johns, who was an important early influence<\/a> when Marden was studying at Yale and, later, when he was a security guard at the Jewish Museum.\u00a0The surfaces show visible vectors of his movement; swabs of oil paint are spliced and smeared by a palette knife. The early notebooks show the consistency of Marden\u2019s work until now: there is\u2014and always was\u2014a calligraphic, linear drawing technique translated into painting; now he has come full circle with a return to his first principles of color planes and relational panels.<\/p>\n

As well as with Manet and C\u00e9zanne, Marden paid homage to painters such as Zurbar\u00e1n and Goya with serious reflection on the dark, melancholic tradition in painting.\u00a0The works on show at Matthew Marks Gallery use terre verte and come from a jewel-like, almost Renaissance palette. They also bear hallmarks of the \u201cincomplete\u201d painting, a calculated mode that avoids any sense of a painting achieving \u201cfinished\u201d status, thus remaining anonymous.<\/p>\n

In his monochrome paintings of the 1960\u2019s, Marden uses the trope of Minimalism\u2019s riposte to rhetorical painting\u2014yet he employs a deeply sensuous treatment: slicked-up, paint-plastered canvases coated with beeswax, in earthy colors of grays and murk. Over the course of a few pages in the 1964\u20131967 notebook, one can find sporadic checklists of paints which read like a chemical lab of forbidden substances: \u201cMars black, lemon yellow, use muddy white \u2026 cobalt violet, cad. red light, perm. green to grey, white, cad. yellow pale and lamp black \u2026 cobalt blue \u2026 raw amber \u2026 chrome oxide opaque, Windsor green, viridian, burnt amber \u2026 \u201d<\/p>\n

\"BriceMarden_Notebook_Feb1968\"<\/a>

Notebook, February 1968.<\/p><\/div>

\"BriceMarden_Notebook_1967-71\"<\/a>

Notebook, 1967\u201371.<\/p><\/div><\/p>\n

Throughout the notebooks, intensity of method combines with a mix of quotidian marginalia and endless detail of a life engaged with social and street activity. Addresses and lists creep across the pages; one scrap of paper has Richard Serra\u2019s phone number on it; Carl Andre\u2019s is on another. There are newspaper clippings; business cards; pulpy glamour photos; a vehicle removal ticket from the City of New York Police Department; ticket stubs from concerts such as Wilson Pickett at Village Theatre on October 7, 1967, and Johnny Cash at Carnegie Hall on October 23, 1968. The ticket stubs stand in, almost, as color swatches or samples for his paintings. On another page of his notebooks, Marden has repeatedly written\u2014like a child practicing a cursive signature\u2014the name Zurbar\u00e1n, with a single word standing tall among the four attempts: \u201cART.\u201d<\/span><\/p>\n

Marden has remained consistently interrogative of precise material form and what value it contains. When a viewer approaches both his early and contemporary canvases, the weight of the paint layers is indicated by a special expos\u00e9 in the lower region of the rectangular canvas. This unfinished strip constitutes a process of framing that at once alienates the viewer into understanding its plastic materiality and also invites them luxuriate in the painted color blocks. The 1964\u20131967 notebook contains meticulous details of this process: \u201cWhen applying the paint with the brush drips accumulate on the marked off section of the canvas. I redraw the bottom edge using a straight edge and a pencil. I exercise little or no control over what happens below the drawn edge \u2026 \u201d<\/p>\n

In Summer Square<\/em> (2015) and Over Autumn<\/em> (2015), at Matthew Marks Gallery, Marden revives this device. And below the earthy colors of the panels in Uphill 4<\/em> (2014), a rich accumulation of drips, a memorization of the layers that build the painting up. Marden has said in an interview that his time in Paris in the 1960\u2019s, during De Gaulle\u2019s urban \u201cclean-up,\u201d was a prevalent occurrence: \u201cYou could watch these guys plaster the walls<\/a>, drips accumulating at the bottom, the physicality of it. And then you think, well, there\u2019s a perfectly valid painting.\u201d<\/p>\n

\"\"<\/a>

Notebook, July 1973.<\/p><\/div>

\"\"<\/a>

Notebook, September 1964.<\/p><\/div>

\"\"<\/a>

Notebook, undated.<\/p><\/div>

\"\"<\/a>

Notebook, undated.<\/p><\/div><\/p>\n

Emmie Francis works at Faber & Faber in London and is a contributing editor at <\/em>The White Review.<\/em><\/p>\n

<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

Brice Marden\u2019s notebooks. On a page of his 1964\u201367 journal, underneath a small cutout of Manet\u2019s 1862 painting of Victorine Meurent, Brice Marden wrote, \u201cC\u00e9zanne tried to kill painting by denying forms for the sake of painting. He seems to have come closest to painting painting out \u2026 I think a painter should paint to […]<\/p>\n","protected":false},"author":895,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[2384],"tags":[35,20195,13125,15119,20196,20198,11718,20197],"class_list":["post-91935","post","type-post","status-publish","format-standard","hentry","category-look","tag-art","tag-brice-marden","tag-encaustic","tag-jasper-johns","tag-karma-gallery","tag-matthew-marks-gallery","tag-notebooks","tag-paul-cezanne-painting"],"acf":[],"yoast_head":"\n\u201cPaint to End Painting\u201d: A Look at Brice Marden\u2019s Notebooks<\/title>\n<meta name=\"description\" content=\"November 13, 2015 \u2013 Brice Marden\u2019s notebooks.On a page of his 1964\u201367 journal, underneath a small cutout of Manet\u2019s 1862 painting of Victorine Meurent, Brice Marden wrote,\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.theparisreview.org\/blog\/2015\/11\/13\/paint-to-end-painting\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Paint to End Painting by Emmie Francis\" \/>\n<meta property=\"og:description\" content=\"November 13, 2015 \u2013 Brice Marden\u2019s notebooks.On a page of his 1964\u201367 journal, underneath a small cutout of Manet\u2019s 1862 painting of Victorine Meurent, Brice Marden wrote,\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.theparisreview.org\/blog\/2015\/11\/13\/paint-to-end-painting\/\" \/>\n<meta property=\"og:site_name\" content=\"The Paris Review\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/parisreview\/\" \/>\n<meta property=\"article:published_time\" content=\"2015-11-13T17:33:18+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2015-11-18T20:57:02+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/11\/bricemarden_journals_installationview_04-1024x683.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"1024\" \/>\n\t<meta property=\"og:image:height\" content=\"683\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Emmie Francis\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@parisreview\" \/>\n<meta name=\"twitter:site\" content=\"@parisreview\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Emmie Francis\" \/>\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:\/\/www.theparisreview.org\/blog\/2015\/11\/13\/paint-to-end-painting\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2015\/11\/13\/paint-to-end-painting\/\"},\"author\":{\"name\":\"Emmie Francis\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/f90266e0885939620a870e3088c9633f\"},\"headline\":\"Paint to End Painting\",\"datePublished\":\"2015-11-13T17:33:18+00:00\",\"dateModified\":\"2015-11-18T20:57:02+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2015\/11\/13\/paint-to-end-painting\/\"},\"wordCount\":894,\"publisher\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#organization\"},\"image\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2015\/11\/13\/paint-to-end-painting\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/11\/bricemarden_journals_installationview_04.jpg\",\"keywords\":[\"art\",\"Brice Marden\",\"encaustic\",\"Jasper Johns\",\"Karma Gallery\",\"Matthew Marks Gallery\",\"notebooks\",\"Paul C\u00e9zanne. painting\"],\"articleSection\":[\"Look\"],\"inLanguage\":\"en-US\"},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2015\/11\/13\/paint-to-end-painting\/\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/2015\/11\/13\/paint-to-end-painting\/\",\"name\":\"\u201cPaint to End Painting\u201d: A Look at Brice Marden\u2019s Notebooks\",\"isPartOf\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2015\/11\/13\/paint-to-end-painting\/#primaryimage\"},\"image\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2015\/11\/13\/paint-to-end-painting\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/11\/bricemarden_journals_installationview_04.jpg\",\"datePublished\":\"2015-11-13T17:33:18+00:00\",\"dateModified\":\"2015-11-18T20:57:02+00:00\",\"description\":\"November 13, 2015 \u2013 Brice Marden\u2019s notebooks.On a page of his 1964\u201367 journal, underneath a small cutout of Manet\u2019s 1862 painting of Victorine Meurent, Brice Marden wrote,\",\"breadcrumb\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2015\/11\/13\/paint-to-end-painting\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/www.theparisreview.org\/blog\/2015\/11\/13\/paint-to-end-painting\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2015\/11\/13\/paint-to-end-painting\/#primaryimage\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/11\/bricemarden_journals_installationview_04.jpg\",\"contentUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/11\/bricemarden_journals_installationview_04.jpg\"},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2015\/11\/13\/paint-to-end-painting\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\/\/www.theparisreview.org\/blog\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Paint to End Painting\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#website\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/\",\"name\":\"The Paris Review\",\"description\":\"The best prose, interviews, poetry, and art. Since 1953.\",\"publisher\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#organization\"},\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\/\/www.theparisreview.org\/blog\/?s={search_term_string}\"},\"query-input\":{\"@type\":\"PropertyValueSpecification\",\"valueRequired\":true,\"valueName\":\"search_term_string\"}}],\"inLanguage\":\"en-US\"},{\"@type\":\"Organization\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#organization\",\"name\":\"The Paris Review\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/\",\"logo\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#\/schema\/logo\/image\/\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2025\/04\/tpr-hadada-roundell-logo-square.png\",\"contentUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2025\/04\/tpr-hadada-roundell-logo-square.png\",\"width\":696,\"height\":696,\"caption\":\"The Paris Review\"},\"image\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#\/schema\/logo\/image\/\"},\"sameAs\":[\"https:\/\/www.facebook.com\/parisreview\/\",\"https:\/\/x.com\/parisreview\",\"https:\/\/www.instagram.com\/parisreview\"]},{\"@type\":\"Person\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/f90266e0885939620a870e3088c9633f\",\"name\":\"Emmie Francis\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/image\/\",\"url\":\"https:\/\/secure.gravatar.com\/avatar\/b48733cc8be634f056e6a69036e0bf63cd87f21295f922569e38d7694a82e9e8?s=96&d=mm&r=g\",\"contentUrl\":\"https:\/\/secure.gravatar.com\/avatar\/b48733cc8be634f056e6a69036e0bf63cd87f21295f922569e38d7694a82e9e8?s=96&d=mm&r=g\",\"caption\":\"Emmie Francis\"},\"url\":\"https:\/\/www.theparisreview.org\/blog\/author\/efrancis\/\"}]}<\/script>\n<!-- \/ Yoast SEO Premium plugin. -->","yoast_head_json":{"title":"\u201cPaint to End Painting\u201d: A Look at Brice Marden\u2019s Notebooks","description":"November 13, 2015 \u2013 Brice Marden\u2019s notebooks.On a page of his 1964\u201367 journal, underneath a small cutout of Manet\u2019s 1862 painting of Victorine Meurent, Brice Marden wrote,","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:\/\/www.theparisreview.org\/blog\/2015\/11\/13\/paint-to-end-painting\/","og_locale":"en_US","og_type":"article","og_title":"Paint to End Painting by Emmie Francis","og_description":"November 13, 2015 \u2013 Brice Marden\u2019s notebooks.On a page of his 1964\u201367 journal, underneath a small cutout of Manet\u2019s 1862 painting of Victorine Meurent, Brice Marden wrote,","og_url":"https:\/\/www.theparisreview.org\/blog\/2015\/11\/13\/paint-to-end-painting\/","og_site_name":"The Paris Review","article_publisher":"https:\/\/www.facebook.com\/parisreview\/","article_published_time":"2015-11-13T17:33:18+00:00","article_modified_time":"2015-11-18T20:57:02+00:00","og_image":[{"width":1024,"height":683,"url":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/11\/bricemarden_journals_installationview_04-1024x683.jpg","type":"image\/jpeg"}],"author":"Emmie Francis","twitter_card":"summary_large_image","twitter_creator":"@parisreview","twitter_site":"@parisreview","twitter_misc":{"Written by":"Emmie Francis","Est. reading time":"4 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/www.theparisreview.org\/blog\/2015\/11\/13\/paint-to-end-painting\/#article","isPartOf":{"@id":"https:\/\/www.theparisreview.org\/blog\/2015\/11\/13\/paint-to-end-painting\/"},"author":{"name":"Emmie Francis","@id":"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/f90266e0885939620a870e3088c9633f"},"headline":"Paint to End Painting","datePublished":"2015-11-13T17:33:18+00:00","dateModified":"2015-11-18T20:57:02+00:00","mainEntityOfPage":{"@id":"https:\/\/www.theparisreview.org\/blog\/2015\/11\/13\/paint-to-end-painting\/"},"wordCount":894,"publisher":{"@id":"https:\/\/www.theparisreview.org\/blog\/#organization"},"image":{"@id":"https:\/\/www.theparisreview.org\/blog\/2015\/11\/13\/paint-to-end-painting\/#primaryimage"},"thumbnailUrl":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/11\/bricemarden_journals_installationview_04.jpg","keywords":["art","Brice Marden","encaustic","Jasper Johns","Karma Gallery","Matthew Marks Gallery","notebooks","Paul C\u00e9zanne. painting"],"articleSection":["Look"],"inLanguage":"en-US"},{"@type":"WebPage","@id":"https:\/\/www.theparisreview.org\/blog\/2015\/11\/13\/paint-to-end-painting\/","url":"https:\/\/www.theparisreview.org\/blog\/2015\/11\/13\/paint-to-end-painting\/","name":"\u201cPaint to End Painting\u201d: A Look at Brice Marden\u2019s Notebooks","isPartOf":{"@id":"https:\/\/www.theparisreview.org\/blog\/#website"},"primaryImageOfPage":{"@id":"https:\/\/www.theparisreview.org\/blog\/2015\/11\/13\/paint-to-end-painting\/#primaryimage"},"image":{"@id":"https:\/\/www.theparisreview.org\/blog\/2015\/11\/13\/paint-to-end-painting\/#primaryimage"},"thumbnailUrl":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/11\/bricemarden_journals_installationview_04.jpg","datePublished":"2015-11-13T17:33:18+00:00","dateModified":"2015-11-18T20:57:02+00:00","description":"November 13, 2015 \u2013 Brice Marden\u2019s notebooks.On a page of his 1964\u201367 journal, underneath a small cutout of Manet\u2019s 1862 painting of Victorine Meurent, Brice Marden wrote,","breadcrumb":{"@id":"https:\/\/www.theparisreview.org\/blog\/2015\/11\/13\/paint-to-end-painting\/#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/www.theparisreview.org\/blog\/2015\/11\/13\/paint-to-end-painting\/"]}]},{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/www.theparisreview.org\/blog\/2015\/11\/13\/paint-to-end-painting\/#primaryimage","url":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/11\/bricemarden_journals_installationview_04.jpg","contentUrl":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/11\/bricemarden_journals_installationview_04.jpg"},{"@type":"BreadcrumbList","@id":"https:\/\/www.theparisreview.org\/blog\/2015\/11\/13\/paint-to-end-painting\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/www.theparisreview.org\/blog\/"},{"@type":"ListItem","position":2,"name":"Paint to End Painting"}]},{"@type":"WebSite","@id":"https:\/\/www.theparisreview.org\/blog\/#website","url":"https:\/\/www.theparisreview.org\/blog\/","name":"The Paris Review","description":"The best prose, interviews, poetry, and art. Since 1953.","publisher":{"@id":"https:\/\/www.theparisreview.org\/blog\/#organization"},"potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/www.theparisreview.org\/blog\/?s={search_term_string}"},"query-input":{"@type":"PropertyValueSpecification","valueRequired":true,"valueName":"search_term_string"}}],"inLanguage":"en-US"},{"@type":"Organization","@id":"https:\/\/www.theparisreview.org\/blog\/#organization","name":"The Paris Review","url":"https:\/\/www.theparisreview.org\/blog\/","logo":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/www.theparisreview.org\/blog\/#\/schema\/logo\/image\/","url":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2025\/04\/tpr-hadada-roundell-logo-square.png","contentUrl":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2025\/04\/tpr-hadada-roundell-logo-square.png","width":696,"height":696,"caption":"The Paris Review"},"image":{"@id":"https:\/\/www.theparisreview.org\/blog\/#\/schema\/logo\/image\/"},"sameAs":["https:\/\/www.facebook.com\/parisreview\/","https:\/\/x.com\/parisreview","https:\/\/www.instagram.com\/parisreview"]},{"@type":"Person","@id":"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/f90266e0885939620a870e3088c9633f","name":"Emmie Francis","image":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/image\/","url":"https:\/\/secure.gravatar.com\/avatar\/b48733cc8be634f056e6a69036e0bf63cd87f21295f922569e38d7694a82e9e8?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/b48733cc8be634f056e6a69036e0bf63cd87f21295f922569e38d7694a82e9e8?s=96&d=mm&r=g","caption":"Emmie Francis"},"url":"https:\/\/www.theparisreview.org\/blog\/author\/efrancis\/"}]}},"_links":{"self":[{"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/posts\/91935","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/users\/895"}],"replies":[{"embeddable":true,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/comments?post=91935"}],"version-history":[{"count":10,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/posts\/91935\/revisions"}],"predecessor-version":[{"id":92103,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/posts\/91935\/revisions\/92103"}],"wp:attachment":[{"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/media?parent=91935"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/categories?post=91935"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/tags?post=91935"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}