{"version":"1.0","provider_name":"L.A. Louver - Journal","provider_url":"https:\/\/www.lalouver.com\/journal","author_name":"L.A. Louver","author_url":"https:\/\/www.lalouver.com\/journal\/author\/50percentopacity","title":"Dissecting a Painting - L.A. Louver - Journal","type":"rich","width":600,"height":338,"html":"<blockquote class=\"wp-embedded-content\" data-secret=\"0nGjARQR3Q\"><a href=\"https:\/\/www.lalouver.com\/journal\/dissecting-a-painting\">Dissecting a Painting<\/a><\/blockquote><iframe sandbox=\"allow-scripts\" security=\"restricted\" src=\"https:\/\/www.lalouver.com\/journal\/dissecting-a-painting\/embed#?secret=0nGjARQR3Q\" width=\"600\" height=\"338\" title=\"&#8220;Dissecting a Painting&#8221; &#8212; L.A. Louver - Journal\" data-secret=\"0nGjARQR3Q\" frameborder=\"0\" marginwidth=\"0\" marginheight=\"0\" scrolling=\"no\" class=\"wp-embedded-content\"><\/iframe><script type=\"text\/javascript\">\n\/* <![CDATA[ *\/\n\/*! This file is auto-generated *\/\n!function(d,l){\"use strict\";l.querySelector&&d.addEventListener&&\"undefined\"!=typeof URL&&(d.wp=d.wp||{},d.wp.receiveEmbedMessage||(d.wp.receiveEmbedMessage=function(e){var t=e.data;if((t||t.secret||t.message||t.value)&&!\/[^a-zA-Z0-9]\/.test(t.secret)){for(var s,r,n,a=l.querySelectorAll('iframe[data-secret=\"'+t.secret+'\"]'),o=l.querySelectorAll('blockquote[data-secret=\"'+t.secret+'\"]'),c=new RegExp(\"^https?:$\",\"i\"),i=0;i<o.length;i++)o[i].style.display=\"none\";for(i=0;i<a.length;i++)s=a[i],e.source===s.contentWindow&&(s.removeAttribute(\"style\"),\"height\"===t.message?(1e3<(r=parseInt(t.value,10))?r=1e3:~~r<200&&(r=200),s.height=r):\"link\"===t.message&&(r=new URL(s.getAttribute(\"src\")),n=new URL(t.value),c.test(n.protocol))&&n.host===r.host&&l.activeElement===s&&(d.top.location.href=t.value))}},d.addEventListener(\"message\",d.wp.receiveEmbedMessage,!1),l.addEventListener(\"DOMContentLoaded\",function(){for(var e,t,s=l.querySelectorAll(\"iframe.wp-embedded-content\"),r=0;r<s.length;r++)(t=(e=s[r]).getAttribute(\"data-secret\"))||(t=Math.random().toString(36).substring(2,12),e.src+=\"#?secret=\"+t,e.setAttribute(\"data-secret\",t)),e.contentWindow.postMessage({message:\"ready\",secret:t},\"*\")},!1)))}(window,document);\n\/\/# sourceURL=https:\/\/www.lalouver.com\/journal\/wp-includes\/js\/wp-embed.min.js\n\/* ]]> *\/\n<\/script>\n","thumbnail_url":"https:\/\/www.lalouver.com\/journal\/wp-content\/uploads\/2012\/03\/image-1.jpeg","thumbnail_width":500,"thumbnail_height":502,"description":"Alan Phenix with the Getty Conservation Institute has recently commenced a study of Frederick Hammsersley\u2019s notebooks for technical information relating to his painting process and materials. Aided by these notebooks, where Hammersley logged meticulous notes for each painting, Phenix examined the work&nbsp;Cool de sac, #29 1977, uncovering some very interesting revelations into Hammersley\u2019s scrupulous methodology: [&hellip;]"}