{"id":24077,"date":"2022-03-31T11:48:00","date_gmt":"2022-03-31T09:48:00","guid":{"rendered":"https:\/\/quadriennalediroma.org\/nino-bertocchi-1924-1956-epistles\/"},"modified":"2022-03-31T11:48:02","modified_gmt":"2022-03-31T09:48:02","slug":"nino-bertocchi-1924-1956-epistles","status":"publish","type":"post","link":"https:\/\/quadriennalediroma.org\/en\/nino-bertocchi-1924-1956-epistles\/","title":{"rendered":"Nino Bertocchi 1924-1956 epistles"},"content":{"rendered":"\n<p class=\"wp-block-paragraph\">The artistic and literary activity of Nino Bertocchi (1900\u20131956), relationships with art historians and critics, artists, editors, architects and scholars. Bertocchi had over sixty correspondents, including: Argan, Bardi, Falqui, Mafai, Pavolini and Pagano. Oppo sent him more than fifty letters, which are of particular interest.  <\/p>\n\n<p class=\"wp-block-paragraph\">AVAILABLE ONLINE<\/p>\n","protected":false},"excerpt":{"rendered":"<p>The artistic and literary activity of Nino Bertocchi (1900\u20131956), relationships with art historians and critics, artists, editors, architects and scholars. Bertocchi had over sixty correspondents, including: Argan, Bardi, Falqui, Mafai, Pavolini and Pagano. Oppo sent him more than fifty letters, which are of particular interest. AVAILABLE ONLINE<\/p>\n","protected":false},"author":5,"featured_media":25175,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":"","_links_to":"","_links_to_target":""},"categories":[292],"tags":[],"class_list":["post-24077","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-archivio_fondi-en"],"_links":{"self":[{"href":"https:\/\/quadriennalediroma.org\/en\/wp-json\/wp\/v2\/posts\/24077","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/quadriennalediroma.org\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/quadriennalediroma.org\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/quadriennalediroma.org\/en\/wp-json\/wp\/v2\/users\/5"}],"replies":[{"embeddable":true,"href":"https:\/\/quadriennalediroma.org\/en\/wp-json\/wp\/v2\/comments?post=24077"}],"version-history":[{"count":0,"href":"https:\/\/quadriennalediroma.org\/en\/wp-json\/wp\/v2\/posts\/24077\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/quadriennalediroma.org\/en\/wp-json\/wp\/v2\/media\/25175"}],"wp:attachment":[{"href":"https:\/\/quadriennalediroma.org\/en\/wp-json\/wp\/v2\/media?parent=24077"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/quadriennalediroma.org\/en\/wp-json\/wp\/v2\/categories?post=24077"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/quadriennalediroma.org\/en\/wp-json\/wp\/v2\/tags?post=24077"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}