{"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":"The Yin and Yang of British Art - L.A. Louver - Journal","type":"rich","width":600,"height":338,"html":"<blockquote class=\"wp-embedded-content\" data-secret=\"ntt4Cvgkvh\"><a href=\"https:\/\/www.lalouver.com\/journal\/the-yin-and-yang-of-british-art\">The Yin and Yang of British Art<\/a><\/blockquote><iframe sandbox=\"allow-scripts\" security=\"restricted\" src=\"https:\/\/www.lalouver.com\/journal\/the-yin-and-yang-of-british-art\/embed#?secret=ntt4Cvgkvh\" width=\"600\" height=\"338\" title=\"&#8220;The Yin and Yang of British Art&#8221; &#8212; L.A. Louver - Journal\" data-secret=\"ntt4Cvgkvh\" 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\/04\/david-hockney-royal-academia-2012-bigger-picture-03.jpg","thumbnail_width":1098,"thumbnail_height":550,"description":"By Richard C. Morais The moment you walk into the&nbsp;Royal Academy of Art\u2019s&nbsp;exhibit of&nbsp;David Hockney&nbsp;landscapes, you are greeted by&nbsp;Three Trees near Thixendale, four massive canvasses of Yorkshire fields dotted by a trinity of ancient trees, the same view painted over four seasons. The works take your breath away. This is the romantic view of bucolic [&hellip;]"}