{"id":21215,"date":"2022-01-03T16:29:22","date_gmt":"2022-01-03T16:29:22","guid":{"rendered":"http:\/\/www.johncoulthart.com\/feuilleton\/?p=21215"},"modified":"2022-01-03T18:28:57","modified_gmt":"2022-01-03T18:28:57","slug":"02022","status":"publish","type":"post","link":"https:\/\/www.johncoulthart.com\/feuilleton\/2022\/01\/03\/02022\/","title":{"rendered":"02022"},"content":{"rendered":"<p><a href=\"https:\/\/commons.wikimedia.org\/wiki\/File:Daybreak_by_Parrish_(1922).jpg\" target=\"_blank\" rel=\"noopener\"><img decoding=\"async\" src=\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2022\/01\/parrish.jpg\" alt=\"parrish.jpg\" \/><\/a><\/p>\n<p><em>Daybreak (1922) by Maxfield Parrish.<\/em><\/p>\n<p>Happy new year. 02022? <a href=\"https:\/\/longnow.org\/about\/\" target=\"_blank\" rel=\"noopener\">Read this<\/a>.<\/p>\n<p><img decoding=\"async\" src=\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2022\/01\/dechirico.jpg\" alt=\"dechirico.jpg\" \/><\/p>\n<p><em>The Prodigal Son (1922) by Giorgio de Chirico.<\/em><\/p>\n<p><img decoding=\"async\" src=\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2022\/01\/delaunay.jpg\" alt=\"delaunay.jpg\" \/><\/p>\n<p><em>Carousel of Pigs (1922) by Robert Delaunay.<\/em><\/p>\n<p><img decoding=\"async\" src=\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2022\/01\/klee.jpg\" alt=\"klee.jpg\" \/><\/p>\n<p><em>Twittering Machine (1922) by Paul Klee.<\/em><\/p>\n<p><img decoding=\"async\" src=\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2022\/01\/moholy-nagy.jpg\" alt=\"moholy-nagy.jpg\" \/><\/p>\n<p><em>K VII (1922) by L\u00e1szl\u00f3 Moholy-Nagy.<\/em><\/p>\n<p><!--more--><\/p>\n<p><img decoding=\"async\" src=\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2022\/01\/nash.jpg\" alt=\"nash.jpg\" \/><\/p>\n<p><em>Garden Pond (1922) by Paul Nash.<\/em><\/p>\n<p><img decoding=\"async\" src=\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2022\/01\/okeefe.jpg\" alt=\"okeefe.jpg\" \/><\/p>\n<p><em>A Storm (1922) by Georgia O&#8217;Keefe.<\/em><\/p>\n<p><img decoding=\"async\" src=\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2022\/01\/picabia.jpg\" alt=\"picabia.jpg\" \/><\/p>\n<p><em>Optophone I (1922) by Francis Picabia.<\/em><\/p>\n<p><img decoding=\"async\" src=\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2022\/01\/siessel.jpg\" alt=\"siessel.jpg\" \/><\/p>\n<p><em>Pafama (1922) by Josip Siessel.<\/em><\/p>\n<p><img decoding=\"async\" src=\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2022\/01\/spare.jpg\" alt=\"spare.jpg\" \/><\/p>\n<p><em>The New Eden (1922) by Austin Osman Spare.<\/em><\/p>\n<p><img decoding=\"async\" src=\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2022\/01\/villard.jpg\" alt=\"villard.jpg\" \/><\/p>\n<p><em>Circuit Railway at Grenelle (1922) by Antoine Villard.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Daybreak (1922) by Maxfield Parrish. Happy new year. 02022? Read this. The Prodigal Son (1922) by Giorgio de Chirico. Carousel of Pigs (1922) by Robert Delaunay. Twittering Machine (1922) by Paul Klee. K VII (1922) by L\u00e1szl\u00f3 Moholy-Nagy.<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"New blog post: 02022","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[2,44],"tags":[11993,2469,4789,11991,693,11992,7417,2904,5028,11989],"class_list":["post-21215","post","type-post","status-publish","format-standard","hentry","category-art","category-painting","tag-antoine-villard","tag-austin-osman-spare","tag-francis-picabia","tag-georgia-okeefe","tag-giorgio-de-chirico","tag-josip-siessel","tag-laszlo-moholy-nagy","tag-maxfield-parrish","tag-paul-klee","tag-robert-delaunay"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/sq7rV-02022","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/21215","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/comments?post=21215"}],"version-history":[{"count":0,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/21215\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/media?parent=21215"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/categories?post=21215"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/tags?post=21215"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}