{"version":"1.0","provider_name":"Perspective","provider_url":"https:\/\/www.perspectivejournal.dk\/en\/","author_name":"alexander@koal.dk","author_url":"https:\/\/www.perspectivejournal.dk\/en\/author\/alexanderkoal-dk\/","title":"\u2018Undated\u2019. Hans Smidth\u2019s Position in Danish Art - Perspective","type":"rich","width":600,"height":338,"html":"<blockquote class=\"wp-embedded-content\" data-secret=\"5MQwBSNGn8\"><a href=\"https:\/\/www.perspectivejournal.dk\/en\/undated-hans-smidths-position-in-danish-art\/\">\u2018Undated\u2019. Hans Smidth\u2019s Position in Danish Art<\/a><\/blockquote><iframe sandbox=\"allow-scripts\" security=\"restricted\" src=\"https:\/\/www.perspectivejournal.dk\/en\/undated-hans-smidths-position-in-danish-art\/embed\/#?secret=5MQwBSNGn8\" width=\"600\" height=\"338\" title=\"&#8220;\u2018Undated\u2019. Hans Smidth\u2019s Position in Danish Art&#8221; &#8212; Perspective\" data-secret=\"5MQwBSNGn8\" 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.perspectivejournal.dk\/wp-includes\/js\/wp-embed.min.js\n\/* ]]> *\/\n<\/script>\n","thumbnail_url":"https:\/\/www.perspectivejournal.dk\/wp-content\/uploads\/2023\/02\/fig._26_nysgerrige_ved_malerteltet.jpg","thumbnail_width":1920,"thumbnail_height":1189,"description":"Hans Smidth (1839-1917) was a renowned artist in his own day. However, only few of his paintings can be conclusively dated, a fact that has contributed to his relative obscurity in subsequent art history writing. In this article, the author examines the challenges involved in dating his paintings long after they were painted."}