Exhibitions<\/strong><\/h1><\/div>\n\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\n\t\t\t<\/div>\n\t\t\t\t\n\t\t\t\t\n\t\t\t<\/div>\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\n\t\t\t\tMay, June and July<\/h6>\nWilliam Brayley<\/h2>\nFrom May 15 to July 31<\/span><\/h6>\n<\/span><\/p>\nRIOPELLE v. POLLOCK<\/p>\n
Jean Paul Riopelle and Jackson Pollock.<\/p>\n
Goliaths of modern art. Respectively the de<\/p>\n
facto leaders of the automatistes and<\/p>\n
abstract expressionists, two of the most<\/p>\n
important schools in the<\/p>\n
history of painting that stood to change the<\/p>\n
practice forever. From the cave walls of the<\/p>\n
pre-historic era to ancient Greece, the<\/p>\n
Renaissance schools of Italy and then for a<\/p>\n
century in Paris<\/p>\n
before finally landing in Montreal and New<\/p>\n
York City, with these two artists and their<\/p>\n
compatriots, the great tradition had for the<\/p>\n
first time found itself centered in North<\/p>\n
America. It was the 1950's and there was a<\/p>\n
yearning to break away from old ideas and<\/p>\n
traditional practices in all realms of culture.<\/p>\n
Art painters played a major role in shaping<\/p>\n
this new world, as they always had, by<\/p>\n
producing material objects that aimed to<\/p>\n
embody the philosophies of a post<\/p>\n
modern era. And while the mould for<\/p>\n
canonical painting had been evolving slowly<\/p>\n
through the generations with groups like<\/p>\n
the impressionists, cubists and surrealists,<\/p>\n
it was perhaps the automatistes and<\/p>\n
abstract expressionists who came along to<\/p>\n
shatter it once and for all. Their massive<\/p>\n
canvases and unorthodox techniques<\/p>\n
diverged from the conventions of<\/p>\n
traditional schools of painting entirely.<\/p>\n
With layer upon layer of texture and colour<\/p>\n
the paintings were non-
representational and void of obvious<\/p>\n
meaning. Instead, the works aimed to draw<\/p>\n
from the deep well of the subconscious to<\/p>\n
express raw emotion while showcasing the<\/p>\n
fundamental nature of paint itself. Yet<\/p>\n
Riopelle and Pollock took very different<\/p>\n
approaches to their art forms. Riopelle,<\/p>\n
using palette knives almost exclusively to<\/p>\n
create his famous mosaic-like abstracts, taking a more traditional stance in front of<\/p>\n
the canvas, while Pollock, standing over his<\/p>\n
surfaces, poured and splashed paint to<\/p>\n
achieve a sense of harmonious disarray in<\/p>\n
his renowned drip paintings. The works of<\/p>\n
these artists were also, perhaps, echoes of<\/p>\n
the medium's final evolution. The 1960's<\/p>\n
saw the art world explode into an era of<\/p>\n
popular culture fueled by mass<\/p>\n
reproduction and digital arts. Today, the<\/p>\n
new school of painting lives in the oeuvre of<\/p>\n
Graffiti artists whose works in many ways<\/p>\n
are suggestive of an age that has banished<\/p>\n
traditional painting to the realm of the<\/p>\n
decorative. At the same time, Graffiti art<\/p>\n
has not changed the most fundamental<\/p>\n
principles of painting. With Jean Paul<\/p>\n
Riopelle and Jackson Pollock, it was the<\/p>\n
first time that paintings existed simply for<\/p>\n
the rich colours, textures and forms of<\/p>\n
paint, for its unpredictable, dynamic and<\/p>\n
fluid nature. Where else could it go from<\/p>\n
there?\u00a0 These two works, \u201cTitle Card #1\u201d<\/p>\n
and \u201cWrestle Mania\u201d, attempt to imitate the<\/p>\n
painting\u00a0 techniques used by Riopelle and<\/p>\n
Pollock in the 1950\u2019s, one completed with<\/p>\n
palette knives, the other by dripping and<\/p>\n
pouring paint. Together they aim to<\/p>\n
consider whether this generation of<\/p>\n
painters had truly reached the final stage of<\/p>\n
the medium\u2019s evolution with their<\/p>\n
monumental compositions. And to ponder<\/p>\n
what the artist\u2019s themselves might say on the topic.<\/p><\/div>\n\t\t\t<\/div>\n\t\t\t<\/div>
\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t![\"\"](\"https:\/\/theatresaintecatherine.com\/wp-content\/uploads\/2026\/05\/IMG_7282-scaled.jpeg\" "\\"IMG_7282\\"")
<\/span>\n\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\n\t\t\t<\/div>\n\t\t\t\t\n\t\t\t\t\n\t\t\t<\/div><\/p>\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_et_pb_use_builder":"on","_et_pb_old_content":"","_et_gb_content_width":"1413","footnotes":""},"class_list":["post-1439","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/theatresaintecatherine.com\/en\/wp-json\/wp\/v2\/pages\/1439","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/theatresaintecatherine.com\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/theatresaintecatherine.com\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/theatresaintecatherine.com\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/theatresaintecatherine.com\/en\/wp-json\/wp\/v2\/comments?post=1439"}],"version-history":[{"count":7,"href":"https:\/\/theatresaintecatherine.com\/en\/wp-json\/wp\/v2\/pages\/1439\/revisions"}],"predecessor-version":[{"id":13843,"href":"https:\/\/theatresaintecatherine.com\/en\/wp-json\/wp\/v2\/pages\/1439\/revisions\/13843"}],"wp:attachment":[{"href":"https:\/\/theatresaintecatherine.com\/en\/wp-json\/wp\/v2\/media?parent=1439"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
May, June and July<\/h6>\nWilliam Brayley<\/h2>\nFrom May 15 to July 31<\/span><\/h6>\n<\/span><\/p>\nRIOPELLE v. POLLOCK<\/p>\n
Jean Paul Riopelle and Jackson Pollock.<\/p>\n
Goliaths of modern art. Respectively the de<\/p>\n
facto leaders of the automatistes and<\/p>\n
abstract expressionists, two of the most<\/p>\n
important schools in the<\/p>\n
history of painting that stood to change the<\/p>\n
practice forever. From the cave walls of the<\/p>\n
pre-historic era to ancient Greece, the<\/p>\n
Renaissance schools of Italy and then for a<\/p>\n
century in Paris<\/p>\n
before finally landing in Montreal and New<\/p>\n
York City, with these two artists and their<\/p>\n
compatriots, the great tradition had for the<\/p>\n
first time found itself centered in North<\/p>\n
America. It was the 1950's and there was a<\/p>\n
yearning to break away from old ideas and<\/p>\n
traditional practices in all realms of culture.<\/p>\n
Art painters played a major role in shaping<\/p>\n
this new world, as they always had, by<\/p>\n
producing material objects that aimed to<\/p>\n
embody the philosophies of a post<\/p>\n
modern era. And while the mould for<\/p>\n
canonical painting had been evolving slowly<\/p>\n
through the generations with groups like<\/p>\n
the impressionists, cubists and surrealists,<\/p>\n
it was perhaps the automatistes and<\/p>\n
abstract expressionists who came along to<\/p>\n
shatter it once and for all. Their massive<\/p>\n
canvases and unorthodox techniques<\/p>\n
diverged from the conventions of<\/p>\n
traditional schools of painting entirely.<\/p>\n
With layer upon layer of texture and colour<\/p>\n
the paintings were non-
representational and void of obvious<\/p>\n
meaning. Instead, the works aimed to draw<\/p>\n
from the deep well of the subconscious to<\/p>\n
express raw emotion while showcasing the<\/p>\n
fundamental nature of paint itself. Yet<\/p>\n
Riopelle and Pollock took very different<\/p>\n
approaches to their art forms. Riopelle,<\/p>\n
using palette knives almost exclusively to<\/p>\n
create his famous mosaic-like abstracts, taking a more traditional stance in front of<\/p>\n
the canvas, while Pollock, standing over his<\/p>\n
surfaces, poured and splashed paint to<\/p>\n
achieve a sense of harmonious disarray in<\/p>\n
his renowned drip paintings. The works of<\/p>\n
these artists were also, perhaps, echoes of<\/p>\n
the medium's final evolution. The 1960's<\/p>\n
saw the art world explode into an era of<\/p>\n
popular culture fueled by mass<\/p>\n
reproduction and digital arts. Today, the<\/p>\n
new school of painting lives in the oeuvre of<\/p>\n
Graffiti artists whose works in many ways<\/p>\n
are suggestive of an age that has banished<\/p>\n
traditional painting to the realm of the<\/p>\n
decorative. At the same time, Graffiti art<\/p>\n
has not changed the most fundamental<\/p>\n
principles of painting. With Jean Paul<\/p>\n
Riopelle and Jackson Pollock, it was the<\/p>\n
first time that paintings existed simply for<\/p>\n
the rich colours, textures and forms of<\/p>\n
paint, for its unpredictable, dynamic and<\/p>\n
fluid nature. Where else could it go from<\/p>\n
there?\u00a0 These two works, \u201cTitle Card #1\u201d<\/p>\n
and \u201cWrestle Mania\u201d, attempt to imitate the<\/p>\n
painting\u00a0 techniques used by Riopelle and<\/p>\n
Pollock in the 1950\u2019s, one completed with<\/p>\n
palette knives, the other by dripping and<\/p>\n
pouring paint. Together they aim to<\/p>\n
consider whether this generation of<\/p>\n
painters had truly reached the final stage of<\/p>\n
the medium\u2019s evolution with their<\/p>\n
monumental compositions. And to ponder<\/p>\n
what the artist\u2019s themselves might say on the topic.<\/p><\/div>\n\t\t\t<\/div>\n\t\t\t<\/div>
\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t<\/span>\n\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\n\t\t\t<\/div>\n\t\t\t\t\n\t\t\t\t\n\t\t\t<\/div><\/p>\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_et_pb_use_builder":"on","_et_pb_old_content":"","_et_gb_content_width":"1413","footnotes":""},"class_list":["post-1439","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/theatresaintecatherine.com\/en\/wp-json\/wp\/v2\/pages\/1439","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/theatresaintecatherine.com\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/theatresaintecatherine.com\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/theatresaintecatherine.com\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/theatresaintecatherine.com\/en\/wp-json\/wp\/v2\/comments?post=1439"}],"version-history":[{"count":7,"href":"https:\/\/theatresaintecatherine.com\/en\/wp-json\/wp\/v2\/pages\/1439\/revisions"}],"predecessor-version":[{"id":13843,"href":"https:\/\/theatresaintecatherine.com\/en\/wp-json\/wp\/v2\/pages\/1439\/revisions\/13843"}],"wp:attachment":[{"href":"https:\/\/theatresaintecatherine.com\/en\/wp-json\/wp\/v2\/media?parent=1439"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
From May 15 to July 31<\/span><\/h6>\n<\/span><\/p>\nRIOPELLE v. POLLOCK<\/p>\n
Jean Paul Riopelle and Jackson Pollock.<\/p>\n
Goliaths of modern art. Respectively the de<\/p>\n
facto leaders of the automatistes and<\/p>\n
abstract expressionists, two of the most<\/p>\n
important schools in the<\/p>\n
history of painting that stood to change the<\/p>\n
practice forever. From the cave walls of the<\/p>\n
pre-historic era to ancient Greece, the<\/p>\n
Renaissance schools of Italy and then for a<\/p>\n
century in Paris<\/p>\n
before finally landing in Montreal and New<\/p>\n
York City, with these two artists and their<\/p>\n
compatriots, the great tradition had for the<\/p>\n
first time found itself centered in North<\/p>\n
America. It was the 1950's and there was a<\/p>\n
yearning to break away from old ideas and<\/p>\n
traditional practices in all realms of culture.<\/p>\n
Art painters played a major role in shaping<\/p>\n
this new world, as they always had, by<\/p>\n
producing material objects that aimed to<\/p>\n
embody the philosophies of a post<\/p>\n
modern era. And while the mould for<\/p>\n
canonical painting had been evolving slowly<\/p>\n
through the generations with groups like<\/p>\n
the impressionists, cubists and surrealists,<\/p>\n
it was perhaps the automatistes and<\/p>\n
abstract expressionists who came along to<\/p>\n
shatter it once and for all. Their massive<\/p>\n
canvases and unorthodox techniques<\/p>\n
diverged from the conventions of<\/p>\n
traditional schools of painting entirely.<\/p>\n
With layer upon layer of texture and colour<\/p>\n
the paintings were non-
representational and void of obvious<\/p>\n
meaning. Instead, the works aimed to draw<\/p>\n
from the deep well of the subconscious to<\/p>\n
express raw emotion while showcasing the<\/p>\n
fundamental nature of paint itself. Yet<\/p>\n
Riopelle and Pollock took very different<\/p>\n
approaches to their art forms. Riopelle,<\/p>\n
using palette knives almost exclusively to<\/p>\n
create his famous mosaic-like abstracts, taking a more traditional stance in front of<\/p>\n
the canvas, while Pollock, standing over his<\/p>\n
surfaces, poured and splashed paint to<\/p>\n
achieve a sense of harmonious disarray in<\/p>\n
his renowned drip paintings. The works of<\/p>\n
these artists were also, perhaps, echoes of<\/p>\n
the medium's final evolution. The 1960's<\/p>\n
saw the art world explode into an era of<\/p>\n
popular culture fueled by mass<\/p>\n
reproduction and digital arts. Today, the<\/p>\n
new school of painting lives in the oeuvre of<\/p>\n
Graffiti artists whose works in many ways<\/p>\n
are suggestive of an age that has banished<\/p>\n
traditional painting to the realm of the<\/p>\n
decorative. At the same time, Graffiti art<\/p>\n
has not changed the most fundamental<\/p>\n
principles of painting. With Jean Paul<\/p>\n
Riopelle and Jackson Pollock, it was the<\/p>\n
first time that paintings existed simply for<\/p>\n
the rich colours, textures and forms of<\/p>\n
paint, for its unpredictable, dynamic and<\/p>\n
fluid nature. Where else could it go from<\/p>\n
there?\u00a0 These two works, \u201cTitle Card #1\u201d<\/p>\n
and \u201cWrestle Mania\u201d, attempt to imitate the<\/p>\n
painting\u00a0 techniques used by Riopelle and<\/p>\n
Pollock in the 1950\u2019s, one completed with<\/p>\n
palette knives, the other by dripping and<\/p>\n
pouring paint. Together they aim to<\/p>\n
consider whether this generation of<\/p>\n
painters had truly reached the final stage of<\/p>\n
the medium\u2019s evolution with their<\/p>\n
monumental compositions. And to ponder<\/p>\n
what the artist\u2019s themselves might say on the topic.<\/p><\/div>\n\t\t\t<\/div>\n\t\t\t<\/div>
\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t<\/span>\n\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\n\t\t\t<\/div>\n\t\t\t\t\n\t\t\t\t\n\t\t\t<\/div><\/p>\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_et_pb_use_builder":"on","_et_pb_old_content":"","_et_gb_content_width":"1413","footnotes":""},"class_list":["post-1439","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/theatresaintecatherine.com\/en\/wp-json\/wp\/v2\/pages\/1439","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/theatresaintecatherine.com\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/theatresaintecatherine.com\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/theatresaintecatherine.com\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/theatresaintecatherine.com\/en\/wp-json\/wp\/v2\/comments?post=1439"}],"version-history":[{"count":7,"href":"https:\/\/theatresaintecatherine.com\/en\/wp-json\/wp\/v2\/pages\/1439\/revisions"}],"predecessor-version":[{"id":13843,"href":"https:\/\/theatresaintecatherine.com\/en\/wp-json\/wp\/v2\/pages\/1439\/revisions\/13843"}],"wp:attachment":[{"href":"https:\/\/theatresaintecatherine.com\/en\/wp-json\/wp\/v2\/media?parent=1439"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
RIOPELLE v. POLLOCK<\/p>\n
Jean Paul Riopelle and Jackson Pollock.<\/p>\n
Goliaths of modern art. Respectively the de<\/p>\n
facto leaders of the automatistes and<\/p>\n
abstract expressionists, two of the most<\/p>\n
important schools in the<\/p>\n
history of painting that stood to change the<\/p>\n
practice forever. From the cave walls of the<\/p>\n
pre-historic era to ancient Greece, the<\/p>\n
Renaissance schools of Italy and then for a<\/p>\n
century in Paris<\/p>\n
before finally landing in Montreal and New<\/p>\n
York City, with these two artists and their<\/p>\n
compatriots, the great tradition had for the<\/p>\n
first time found itself centered in North<\/p>\n
America. It was the 1950's and there was a<\/p>\n
yearning to break away from old ideas and<\/p>\n
traditional practices in all realms of culture.<\/p>\n
Art painters played a major role in shaping<\/p>\n
this new world, as they always had, by<\/p>\n
producing material objects that aimed to<\/p>\n
embody the philosophies of a post<\/p>\n
modern era. And while the mould for<\/p>\n
canonical painting had been evolving slowly<\/p>\n
through the generations with groups like<\/p>\n
the impressionists, cubists and surrealists,<\/p>\n
it was perhaps the automatistes and<\/p>\n
abstract expressionists who came along to<\/p>\n
shatter it once and for all. Their massive<\/p>\n
canvases and unorthodox techniques<\/p>\n
diverged from the conventions of<\/p>\n
traditional schools of painting entirely.<\/p>\n
With layer upon layer of texture and colour<\/p>\n
the paintings were non-
representational and void of obvious<\/p>\n
meaning. Instead, the works aimed to draw<\/p>\n
from the deep well of the subconscious to<\/p>\n
express raw emotion while showcasing the<\/p>\n
fundamental nature of paint itself. Yet<\/p>\n
Riopelle and Pollock took very different<\/p>\n
approaches to their art forms. Riopelle,<\/p>\n
using palette knives almost exclusively to<\/p>\n
create his famous mosaic-like abstracts, taking a more traditional stance in front of<\/p>\n
the canvas, while Pollock, standing over his<\/p>\n
surfaces, poured and splashed paint to<\/p>\n
achieve a sense of harmonious disarray in<\/p>\n
his renowned drip paintings. The works of<\/p>\n
these artists were also, perhaps, echoes of<\/p>\n
the medium's final evolution. The 1960's<\/p>\n
saw the art world explode into an era of<\/p>\n
popular culture fueled by mass<\/p>\n
reproduction and digital arts. Today, the<\/p>\n
new school of painting lives in the oeuvre of<\/p>\n
Graffiti artists whose works in many ways<\/p>\n
are suggestive of an age that has banished<\/p>\n
traditional painting to the realm of the<\/p>\n
decorative. At the same time, Graffiti art<\/p>\n
has not changed the most fundamental<\/p>\n
principles of painting. With Jean Paul<\/p>\n
Riopelle and Jackson Pollock, it was the<\/p>\n
first time that paintings existed simply for<\/p>\n
the rich colours, textures and forms of<\/p>\n
paint, for its unpredictable, dynamic and<\/p>\n
fluid nature. Where else could it go from<\/p>\n
there?\u00a0 These two works, \u201cTitle Card #1\u201d<\/p>\n
and \u201cWrestle Mania\u201d, attempt to imitate the<\/p>\n
painting\u00a0 techniques used by Riopelle and<\/p>\n
Pollock in the 1950\u2019s, one completed with<\/p>\n
palette knives, the other by dripping and<\/p>\n
pouring paint. Together they aim to<\/p>\n
consider whether this generation of<\/p>\n
painters had truly reached the final stage of<\/p>\n
the medium\u2019s evolution with their<\/p>\n
monumental compositions. And to ponder<\/p>\n
what the artist\u2019s themselves might say on the topic.<\/p><\/div>\n\t\t\t<\/div>\n\t\t\t<\/div>
<\/span>\n\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\n\t\t\t<\/div>\n\t\t\t\t\n\t\t\t\t\n\t\t\t<\/div><\/p>\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_et_pb_use_builder":"on","_et_pb_old_content":"","_et_gb_content_width":"1413","footnotes":""},"class_list":["post-1439","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/theatresaintecatherine.com\/en\/wp-json\/wp\/v2\/pages\/1439","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/theatresaintecatherine.com\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/theatresaintecatherine.com\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/theatresaintecatherine.com\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/theatresaintecatherine.com\/en\/wp-json\/wp\/v2\/comments?post=1439"}],"version-history":[{"count":7,"href":"https:\/\/theatresaintecatherine.com\/en\/wp-json\/wp\/v2\/pages\/1439\/revisions"}],"predecessor-version":[{"id":13843,"href":"https:\/\/theatresaintecatherine.com\/en\/wp-json\/wp\/v2\/pages\/1439\/revisions\/13843"}],"wp:attachment":[{"href":"https:\/\/theatresaintecatherine.com\/en\/wp-json\/wp\/v2\/media?parent=1439"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}