{"id":4636,"date":"2025-04-02T12:16:53","date_gmt":"2025-04-02T10:16:53","guid":{"rendered":"https:\/\/casqp.fr\/?page_id=4636"},"modified":"2025-05-04T16:41:08","modified_gmt":"2025-05-04T14:41:08","slug":"boudin-portrieux","status":"publish","type":"page","link":"https:\/\/casqp.fr\/en\/boudin-portrieux\/","title":{"rendered":"Eug\u00e8ne Boudin - Boudin et le Portrieux"},"content":{"rendered":"<p><a href=\"\/boudin\/\">[close]<\/a><\/p>\n<hr>\n<h1>\n<p><span>Boudin et le Portrieux<\/span><\/p>\n<\/h1>\n<p><img decoding=\"async\" src=\"\/wp-content\/uploads\/2025\/04\/16_Eugene_Boudin_Portrieux_1874.jpg\" alt=\"\"><\/p>\n<div>\n<h6><i>Eug\u00e8ne Boudin \u2013 Portrieux \u2013 1874 \u2013 Budapest Magyar Nemzeti Galeria\u2028<br \/>(La maison rose avec \u00e0 droite du tableau l\u2019h\u00f4tel du Mouton Blanc.)<\/i><\/h6>\n<\/div>\n<div>\n<p>Eug\u00e8ne Boudin appr\u00e9cie particuli\u00e8rement ce petit port authentique pour sa simplicit\u00e9.<\/p>\n<p>Il y s\u00e9journera onze fois de 1868 \u00e0 1880. Ce sont pr\u00e8s de 80 toiles, croquis et dessins pr\u00e9paratoires qui y ont \u00e9t\u00e9 r\u00e9pertori\u00e9s (d\u2019apr\u00e8s le catalogue raisonn\u00e9 de Schmidt)<\/p>\n<p>Il prend pension essentiellement au Mouton Blanc, h\u00f4tel situ\u00e9 sur le port dans lequel il a ses habitudes.<\/p>\n<p>Eug\u00e8ne Boudin d\u00e9termine ses points de vue sur l\u2019estran (il suffit de traverser la route depuis l\u2019h\u00f4tel), ou depuis une hauteur, cherchant \u00e0 capter les effets de lumi\u00e8re avec les nuages auxquels il accorde une large place ainsi qu\u2019aux reflets de l\u2019eau.<\/p>\n<p>Au Portrieux, Boudin ne peint pas de sc\u00e8nes de plage comme en Normandie, mais surtout la gr\u00e8ve du port, lieu de travail des marins avec les grands navires morutiers et des paysages.<\/p>\n<\/div>\n<p><img decoding=\"async\" src=\"\/wp-content\/uploads\/2025\/04\/chevaux-sur-lestran-redim-scaled.jpg\" alt=\"\"><\/p>\n<div>\n<h6><i>Bateaux et chevaux sur l&#8217;estran &#8211; Eug\u00e8ne Boudin &#8211; Southampton City Art Gallery \u00a9 Bridgeman Images\u00a0<\/i><\/h6>\n<\/div>\n<p><img decoding=\"async\" src=\"\/wp-content\/uploads\/2025\/04\/15_Boudin_marche_au_Portrieux.jpg\" alt=\"\"><\/p>\n<div>\n<h6><i>March\u00e9 au Portrieux \u2013 Eug\u00e8ne Boudin &#8211; Mus\u00e9e du Louvre \u2013 D\u00e9partement des arts graphiques<\/i><\/h6>\n<\/div>\n<p><img decoding=\"async\" src=\"\/wp-content\/uploads\/2025\/04\/14_Boudin_paysage_1800.jpg\" alt=\"\"><\/p>\n<div>\n<h6><i>Eug\u00e8ne Boudin \u2013 Paysage \u2013 Collection particuli\u00e8re \u2013\u00a9 Bridgeman images<\/i><\/h6>\n<\/div>\n<div>\n<p>L\u2019activit\u00e9 humaine autour des terre-neuvas, le chargement, le d\u00e9chargement de ces grands bateaux nous offrent une illustration magnifique sur le va-et-vient au port. Nous assistons au d\u00e9part et \u00e0 l\u2019arriv\u00e9e des bateaux.<\/p>\n<p>Dans &#8220;Le retour d&#8217;un terre-neuvier&#8221; (huile sur toile de 1875, National Gallery of Art Washington), il nous documente sur la foule qui se presse autour du bateau \u00e9chou\u00e9 sur l\u2019estran, pour d\u00e9barquer les bagages, au retour de la grande p\u00eache.<\/p>\n<p>Il fixe ici une sc\u00e8ne de vie avec des femmes en coiffe qui s\u2019affairent autour de la charrette sur la gr\u00e8ve.<\/p>\n<\/div>\n<p><img decoding=\"async\" src=\"\/wp-content\/uploads\/2025\/04\/18_dessin_-reparatoire_terre_neuvier.jpg\" alt=\"\"><\/p>\n<div>\n<h6><i>Dessin pr\u00e9paratoire pour le retour d&#8217;un terre-neuvier &#8211; Eug\u00e8ne Boudin<\/i><\/h6>\n<\/div>\n<p><img decoding=\"async\" src=\"\/wp-content\/uploads\/2025\/04\/19-retour-terre-neuvier-scaled.jpg\" alt=\"\"><\/p>\n<div>\n<h6><i>Retour d\u2019un terre-neuvier \u2013Eug\u00e8ne Boudin &#8211; Chester Dale collection &#8211; National Gallery of arts &#8211; Washington <\/i><\/h6>\n<\/div>\n<div>\n<p>Chaque tableau du Portrieux, dans des compositions semblables, mais des variations atmosph\u00e9riques diff\u00e9rentes, saisies presqu\u2019au m\u00eame endroit, nous donne des d\u00e9tails sur l\u2019activit\u00e9 portuaire avec le mouvement des bateaux et leurs gr\u00e9ements au rythme des mar\u00e9es, le travail des p\u00eacheurs, le calfatage, la p\u00eache \u00e0 pied.<\/p>\n<\/div>\n<p><img decoding=\"async\" src=\"\/wp-content\/uploads\/2025\/04\/calfatage-redim-scaled.jpg\" alt=\"\"><\/p>\n<div>\n<h6><i>Portrieux 1873 &#8211; Eug\u00e8ne Boudin \u2013 Fitzwilliam Museum Cambridge \u2013 \u00a9 Bridgeman images<\/i><\/h6>\n<\/div>\n<div>\n<p><span><i>Bibliographie\u00a0:<\/i><\/span><\/p>\n<p><i>Georges-Jean Aubry<span class=\"Apple-converted-space\">\u00a0 <\/span>&#8211; Eug\u00e8ne Boudin l\u2019homme et l\u2019\u0153uvre &#8211; d\u2019apr\u00e8s des documents in\u00e9dits\u00a0; \u00e9dition Bernheim-Jeune \u2013 1922<\/i><\/p>\n<p><i>Et nombreux ouvrages de Denise Delouche<\/i><\/p>\n<\/div>\n<p><a href=\"\/boudin\/\">[close]<\/a><\/p>\n<p><!--more--><br \/>\n<!-- {\"type\":\"layout\",\"children\":[{\"type\":\"section\",\"props\":{\"image_position\":\"center-center\",\"padding\":\"small\",\"padding_remove_bottom\":false,\"style\":\"default\",\"title_breakpoint\":\"xl\",\"title_position\":\"top-left\",\"title_rotation\":\"left\",\"vertical_align\":\"\",\"width\":\"default\"},\"children\":[{\"type\":\"row\",\"props\":{\"layout\":\"4-5,1-5\"},\"children\":[{\"type\":\"column\",\"props\":{\"image_position\":\"center-center\",\"position_sticky_breakpoint\":\"m\",\"width_default\":\"4-5\",\"width_medium\":\"4-5\"},\"children\":[{\"type\":\"module\",\"props\":{\"menu_image_align\":\"center\",\"menu_image_margin\":true,\"menu_style\":\"default\",\"menu_type\":\"nav\",\"type\":\"falang\",\"widget\":\"falang-6\"}}]},{\"type\":\"column\",\"props\":{\"image_position\":\"center-center\",\"position_sticky_breakpoint\":\"m\",\"vertical_align\":\"middle\",\"width_default\":\"1-5\",\"width_medium\":\"1-5\"},\"children\":[{\"type\":\"icon\",\"props\":{\"icon\":\"close\",\"icon_width\":\"45\",\"link\":\"boudin\\\/\",\"margin\":\"default\",\"text_align\":\"right\"}}]}]}],\"name\":\"HAUT\"},{\"type\":\"section\",\"props\":{\"image_position\":\"center-center\",\"padding_remove_bottom\":true,\"padding_remove_top\":true,\"style\":\"default\",\"title_breakpoint\":\"xl\",\"title_position\":\"top-left\",\"title_rotation\":\"left\",\"vertical_align\":\"\",\"width\":\"default\"},\"children\":[{\"type\":\"row\",\"children\":[{\"type\":\"column\",\"props\":{\"image_position\":\"center-center\",\"position_sticky_breakpoint\":\"m\"},\"children\":[{\"type\":\"divider\",\"props\":{\"divider_element\":\"hr\"}},{\"type\":\"headline\",\"props\":{\"content\":\"\n\n<p><span>Boudin et le Portrieux<\\\/span><\\\/p>\",\"content_en_gb\":\"Boudin and the Portrieux\",\"title_element\":\"h1\"}},{\"type\":\"image\",\"props\":{\"image\":\"wp-content\\\/uploads\\\/2025\\\/04\\\/16_Eugene_Boudin_Portrieux_1874.jpg\",\"image_svg_color\":\"emphasis\",\"margin\":\"default\",\"margin_remove_bottom\":true}},{\"type\":\"text\",\"props\":{\"column_breakpoint\":\"m\",\"content\":\"\n\n<h6><i>Eug\\u00e8ne Boudin \\u2013 Portrieux \\u2013 1874 \\u2013 Budapest Magyar Nemzeti Galeria\\u2028<br \\\/>(La maison rose avec \\u00e0 droite du tableau l\\u2019h\\u00f4tel du Mouton Blanc.)<\\\/i><\\\/h6>\",\"margin\":\"default\",\"margin_remove_top\":true}}]}]},{\"type\":\"row\",\"props\":{\"layout\":\"1-3,2-3\"},\"children\":[{\"type\":\"column\",\"props\":{\"image_position\":\"center-center\",\"position_sticky_breakpoint\":\"m\",\"width_medium\":\"1-3\"},\"children\":[{\"type\":\"text\",\"props\":{\"column_breakpoint\":\"m\",\"content\":\"\n\n<p>Eug\\u00e8ne Boudin appr\\u00e9cie particuli\\u00e8rement ce petit port authentique pour sa simplicit\\u00e9.<\\\/p>\\n\n\n<p>Il y s\\u00e9journera onze fois de 1868 \\u00e0 1880. Ce sont pr\\u00e8s de 80 toiles, croquis et dessins pr\\u00e9paratoires qui y ont \\u00e9t\\u00e9 r\\u00e9pertori\\u00e9s (d\\u2019apr\\u00e8s le catalogue raisonn\\u00e9 de Schmidt)<\\\/p>\\n\n\n<p>Il prend pension essentiellement au Mouton Blanc, h\\u00f4tel situ\\u00e9 sur le port dans lequel il a ses habitudes.<\\\/p>\\n\n\n<p>Eug\\u00e8ne Boudin d\\u00e9termine ses points de vue sur l\\u2019estran (il suffit de traverser la route depuis l\\u2019h\\u00f4tel), ou depuis une hauteur, cherchant \\u00e0 capter les effets de lumi\\u00e8re avec les nuages auxquels il accorde une large place ainsi qu\\u2019aux reflets de l\\u2019eau.<\\\/p>\\n\n\n<p>Au Portrieux, Boudin ne peint pas de sc\\u00e8nes de plage comme en Normandie, mais surtout la gr\\u00e8ve du port, lieu de travail des marins avec les grands navires morutiers et des paysages.<\\\/p>\",\"content_en_gb\":\"\n\n<p>Eug\\u00e8ne Boudin particularly appreciated this authentic little port for its simplicity.<\\\/p>\\n\n\n<p>He stayed here eleven times between 1868 and 1880. Almost 80 paintings, sketches and preparatory drawings have been catalogued (according to Schmidt's catalog raisonn\\u00e9).<\\\/p>\\n\n\n<p>He mainly stayed at the Mouton Blanc, a hotel on the harbor where he was a regular guest.<\\\/p>\\n\n\n<p>Eug\\u00e8ne Boudin chose his vantage points on the foreshore (just cross the road from the hotel), or from a height, seeking to capture the effects of light with the clouds, to which he gave ample space, as well as the reflections of the water.<\\\/p>\\n\n\n<p>In Portrieux, Boudin didn't paint beach scenes as he did in Normandy, but rather the harbor shoreline, the sailors' workplace with its large cod ships, and landscapes.<\\\/p>\",\"margin\":\"default\"}}]},{\"type\":\"column\",\"props\":{\"image_position\":\"center-center\",\"position_sticky_breakpoint\":\"m\",\"width_medium\":\"2-3\"},\"children\":[{\"type\":\"image\",\"props\":{\"image\":\"wp-content\\\/uploads\\\/2025\\\/04\\\/chevaux-sur-lestran-redim-scaled.jpg\",\"image_svg_color\":\"emphasis\",\"margin\":\"default\",\"margin_remove_bottom\":true}},{\"type\":\"text\",\"props\":{\"column_breakpoint\":\"m\",\"content\":\"\n\n<h6><i>Bateaux et chevaux sur l'estran - Eug\\u00e8ne Boudin - Southampton City Art Gallery \\u00a9 Bridgeman Images\\u00a0<\\\/i><\\\/h6>\",\"margin\":\"default\",\"margin_remove_top\":true}}]}]},{\"type\":\"row\",\"props\":{\"layout\":\"1-2,1-2\"},\"children\":[{\"type\":\"column\",\"props\":{\"image_position\":\"center-center\",\"position_sticky_breakpoint\":\"m\",\"width_medium\":\"1-2\"},\"children\":[{\"type\":\"image\",\"props\":{\"image\":\"wp-content\\\/uploads\\\/2025\\\/04\\\/15_Boudin_marche_au_Portrieux.jpg\",\"image_svg_color\":\"emphasis\",\"margin\":\"default\",\"margin_remove_bottom\":true}},{\"type\":\"text\",\"props\":{\"column_breakpoint\":\"m\",\"content\":\"\n\n<h6><i>March\\u00e9 au Portrieux \\u2013 Eug\\u00e8ne Boudin - Mus\\u00e9e du Louvre \\u2013 D\\u00e9partement des arts graphiques<\\\/i><\\\/h6>\",\"margin\":\"default\",\"margin_remove_top\":true}}]},{\"type\":\"column\",\"props\":{\"image_position\":\"center-center\",\"position_sticky_breakpoint\":\"m\",\"width_medium\":\"1-2\"},\"children\":[{\"type\":\"image\",\"props\":{\"image\":\"wp-content\\\/uploads\\\/2025\\\/04\\\/14_Boudin_paysage_1800.jpg\",\"image_svg_color\":\"emphasis\",\"margin\":\"default\",\"margin_remove_bottom\":true}},{\"type\":\"text\",\"props\":{\"column_breakpoint\":\"m\",\"content\":\"\n\n<h6><i>Eug\\u00e8ne Boudin \\u2013 Paysage \\u2013 Collection particuli\\u00e8re \\u2013\\u00a9 Bridgeman images<\\\/i><\\\/h6>\",\"margin\":\"default\",\"margin_remove_top\":true}}]}]},{\"type\":\"row\",\"props\":{\"layout\":\"1-3,1-3,1-3\"},\"children\":[{\"type\":\"column\",\"props\":{\"image_position\":\"center-center\",\"position_sticky_breakpoint\":\"m\",\"width_medium\":\"1-3\"},\"children\":[{\"type\":\"text\",\"props\":{\"column_breakpoint\":\"m\",\"content\":\"\n\n<p>L\\u2019activit\\u00e9 humaine autour des terre-neuvas, le chargement, le d\\u00e9chargement de ces grands bateaux nous offrent une illustration magnifique sur le va-et-vient au port. Nous assistons au d\\u00e9part et \\u00e0 l\\u2019arriv\\u00e9e des bateaux.<\\\/p>\\n\n\n<p>Dans \\\"Le retour d'un terre-neuvier\\\" (huile sur toile de 1875, National Gallery of Art Washington), il nous documente sur la foule qui se presse autour du bateau \\u00e9chou\\u00e9 sur l\\u2019estran, pour d\\u00e9barquer les bagages, au retour de la grande p\\u00eache.<\\\/p>\\n\n\n<p>Il fixe ici une sc\\u00e8ne de vie avec des femmes en coiffe qui s\\u2019affairent autour de la charrette sur la gr\\u00e8ve.<\\\/p>\",\"content_en_gb\":\"\n\n<p>The human activity around the terre-neuvas, the loading and unloading of these large boats, provides a magnificent illustration of the comings and goings in the port. We witness the departure and arrival of the boats.<\\\/p>\\n\n\n<p>In \\u2018Le retour d'un terre-neuvier\\u2019 (oil on canvas, 1875, National Gallery of Art, Washington), he documents the crowds milling around the boat stranded on the foreshore, unloading their luggage on their return from the great fishing grounds.<\\\/p>\\n\n\n<p>Here he captured a scene of life with women in headdresses bustling around the cart on the beach.<\\\/p>\",\"margin\":\"default\"}}]},{\"type\":\"column\",\"props\":{\"image_position\":\"center-center\",\"position_sticky_breakpoint\":\"m\",\"width_medium\":\"1-3\"},\"children\":[{\"type\":\"image\",\"props\":{\"image\":\"wp-content\\\/uploads\\\/2025\\\/04\\\/18_dessin_-reparatoire_terre_neuvier.jpg\",\"image_svg_color\":\"emphasis\",\"margin\":\"default\",\"margin_remove_bottom\":true}},{\"type\":\"text\",\"props\":{\"column_breakpoint\":\"m\",\"content\":\"\n\n<h6><i>Dessin pr\\u00e9paratoire pour le retour d'un terre-neuvier - Eug\\u00e8ne Boudin<\\\/i><\\\/h6>\",\"margin\":\"default\",\"margin_remove_top\":true}}]},{\"type\":\"column\",\"props\":{\"image_position\":\"center-center\",\"position_sticky_breakpoint\":\"m\",\"width_medium\":\"1-3\"},\"children\":[{\"type\":\"image\",\"props\":{\"image\":\"wp-content\\\/uploads\\\/2025\\\/04\\\/19-retour-terre-neuvier-scaled.jpg\",\"image_svg_color\":\"emphasis\",\"margin\":\"default\",\"margin_remove_bottom\":true}},{\"type\":\"text\",\"props\":{\"column_breakpoint\":\"m\",\"content\":\"\n\n<h6><i>Retour d\\u2019un terre-neuvier \\u2013Eug\\u00e8ne Boudin - Chester Dale collection - National Gallery of arts - Washington <\\\/i><\\\/h6>\",\"margin\":\"default\",\"margin_remove_top\":true}}]}]},{\"type\":\"row\",\"props\":{\"layout\":\"1-3,1-3,1-3\"},\"children\":[{\"type\":\"column\",\"props\":{\"image_position\":\"center-center\",\"position_sticky_breakpoint\":\"m\",\"width_medium\":\"1-3\"},\"children\":[{\"type\":\"text\",\"props\":{\"column_breakpoint\":\"m\",\"content\":\"\n\n<p>Chaque tableau du Portrieux, dans des compositions semblables, mais des variations atmosph\\u00e9riques diff\\u00e9rentes, saisies presqu\\u2019au m\\u00eame endroit, nous donne des d\\u00e9tails sur l\\u2019activit\\u00e9 portuaire avec le mouvement des bateaux et leurs gr\\u00e9ements au rythme des mar\\u00e9es, le travail des p\\u00eacheurs, le calfatage, la p\\u00eache \\u00e0 pied.<\\\/p>\",\"content_en_gb\":\"\n\n<p>Each painting of Portrieux, with similar compositions but different atmospheric variations, captured at almost the same spot, gives us details of port activity, with the movement of boats and their rigging to the rhythm of the tides, the work of fishermen, caulking, fishing on foot.<\\\/p>\",\"margin\":\"default\"}}]},{\"type\":\"column\",\"props\":{\"image_position\":\"center-center\",\"position_sticky_breakpoint\":\"m\",\"width_medium\":\"1-3\"},\"children\":[{\"type\":\"image\",\"props\":{\"image\":\"wp-content\\\/uploads\\\/2025\\\/04\\\/calfatage-redim-scaled.jpg\",\"image_svg_color\":\"emphasis\",\"margin\":\"default\",\"margin_remove_bottom\":true}},{\"type\":\"text\",\"props\":{\"column_breakpoint\":\"m\",\"content\":\"\n\n<h6><i>Portrieux 1873 - Eug\\u00e8ne Boudin \\u2013 Fitzwilliam Museum Cambridge \\u2013 \\u00a9 Bridgeman images<\\\/i><\\\/h6>\",\"margin\":\"default\",\"margin_remove_top\":true}}]},{\"type\":\"column\",\"props\":{\"image_position\":\"center-center\",\"position_sticky_breakpoint\":\"m\",\"width_medium\":\"1-3\"}}]},{\"type\":\"row\",\"children\":[{\"type\":\"column\",\"props\":{\"image_position\":\"center-center\",\"position_sticky_breakpoint\":\"m\"},\"children\":[{\"type\":\"text\",\"props\":{\"column_breakpoint\":\"m\",\"content\":\"\n\n<p><span><i>Bibliographie\\u00a0:<\\\/i><\\\/span><\\\/p>\\n\n\n<p><i>Georges-Jean Aubry<span class=\\\"Apple-converted-space\\\">\\u00a0 <\\\/span>- Eug\\u00e8ne Boudin l\\u2019homme et l\\u2019\\u0153uvre - d\\u2019apr\\u00e8s des documents in\\u00e9dits\\u00a0; \\u00e9dition Bernheim-Jeune \\u2013 1922<\\\/i><\\\/p>\\n\n\n<p><i>Et nombreux ouvrages de Denise Delouche<\\\/i><\\\/p>\",\"margin\":\"default\"}}]}]}],\"name\":\"Eug\\u00e8ne Boudin - Boudin et le Portrieux\"},{\"type\":\"section\",\"props\":{\"image_position\":\"center-center\",\"padding\":\"xsmall\",\"padding_remove_bottom\":false,\"style\":\"default\",\"title_breakpoint\":\"xl\",\"title_position\":\"top-left\",\"title_rotation\":\"left\",\"vertical_align\":\"\",\"width\":\"default\"},\"children\":[{\"type\":\"row\",\"props\":{\"layout\":\"4-5,1-5\"},\"children\":[{\"type\":\"column\",\"props\":{\"image_position\":\"center-center\",\"position_sticky_breakpoint\":\"m\",\"width_default\":\"4-5\",\"width_medium\":\"4-5\"}},{\"type\":\"column\",\"props\":{\"image_position\":\"center-center\",\"position_sticky_breakpoint\":\"m\",\"vertical_align\":\"middle\",\"width_default\":\"1-5\",\"width_medium\":\"1-5\"},\"children\":[{\"type\":\"icon\",\"props\":{\"icon\":\"close\",\"icon_width\":\"45\",\"link\":\"boudin\\\/\",\"margin\":\"default\",\"text_align\":\"right\"}}]}]}],\"name\":\"BAS\"}],\"version\":\"4.5.15\"} --><\/p>\n","protected":false},"excerpt":{"rendered":"<p>[close] Boudin et le Portrieux Eug\u00e8ne Boudin \u2013 Portrieux \u2013 1874 \u2013 Budapest Magyar Nemzeti Galeria\u2028(La maison rose avec \u00e0 droite du tableau l\u2019h\u00f4tel du Mouton Blanc.) Eug\u00e8ne Boudin appr\u00e9cie particuli\u00e8rement ce petit port authentique pour sa simplicit\u00e9. Il y s\u00e9journera onze fois de 1868 \u00e0 1880. Ce sont pr\u00e8s de 80 toiles, croquis et [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-4636","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/casqp.fr\/en\/wp-json\/wp\/v2\/pages\/4636","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/casqp.fr\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/casqp.fr\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/casqp.fr\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/casqp.fr\/en\/wp-json\/wp\/v2\/comments?post=4636"}],"version-history":[{"count":45,"href":"https:\/\/casqp.fr\/en\/wp-json\/wp\/v2\/pages\/4636\/revisions"}],"predecessor-version":[{"id":5877,"href":"https:\/\/casqp.fr\/en\/wp-json\/wp\/v2\/pages\/4636\/revisions\/5877"}],"wp:attachment":[{"href":"https:\/\/casqp.fr\/en\/wp-json\/wp\/v2\/media?parent=4636"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}