{"version":"1.0","provider_name":"Missives","provider_url":"https:\/\/www.lesmissives.fr","author_name":"Lolita Gillet","author_url":"https:\/\/www.lesmissives.fr\/index.php\/author\/lolitagillet\/","title":"Le Bauhaus : un modernisme de fa\u00e7ade - Missives","type":"rich","width":600,"height":338,"html":"<blockquote class=\"wp-embedded-content\" data-secret=\"UTZjsPMOIj\"><a href=\"https:\/\/www.lesmissives.fr\/index.php\/2021\/03\/17\/le-bauhaus-un-modernisme-de-facade\/\">Le Bauhaus : un modernisme de fa\u00e7ade<\/a><\/blockquote><iframe sandbox=\"allow-scripts\" security=\"restricted\" src=\"https:\/\/www.lesmissives.fr\/index.php\/2021\/03\/17\/le-bauhaus-un-modernisme-de-facade\/embed\/#?secret=UTZjsPMOIj\" width=\"600\" height=\"338\" title=\"\u00ab\u00a0Le Bauhaus : un modernisme de fa\u00e7ade\u00a0\u00bb &#8212; Missives\" data-secret=\"UTZjsPMOIj\" 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\/* ]]> *\/\n<\/script>\n","thumbnail_url":"http:\/\/www.lesmissives.fr\/wp-content\/uploads\/2021\/03\/femmequireste.jpg","thumbnail_width":820,"thumbnail_height":428,"description":"Accoud\u00e9e au balcon du Bauhaus, Otti Berger, sourire aux l\u00e8vres et cigarette \u00e0 la main, fixe la photographe Gertrud Arndt. Tout de cercles v\u00eatue \u2013 une des trois formes essentielles de l\u2019\u00c9cole \u2013, elle aurait pu incarner ce Bauhaus avant-gardiste, moderne, r\u00e9volutionnaire. Mais non. Comme Clara Ottenbrug, artiste fictive dont La femme qui reste retrace [&hellip;]"}