{"id":182,"date":"2017-03-22T18:04:00","date_gmt":"2017-03-22T18:04:00","guid":{"rendered":"https:\/\/blogs.history.qmul.ac.uk\/litcaricature\/?p=182"},"modified":"2024-10-02T08:43:10","modified_gmt":"2024-10-02T08:43:10","slug":"of-monkeys-and-men","status":"publish","type":"post","link":"https:\/\/blogs.history.qmul.ac.uk\/litcaricature\/2017\/03\/22\/of-monkeys-and-men\/","title":{"rendered":"Of monkeys and men"},"content":{"rendered":"<p>In 1540 Niccol\u00f2 Boldrini engraved this<strong>\u00a0<\/strong>surprising caricature after a drawing by Titian. The deformation of a renowned and deeply respected image such as the Laocoon affirms caricature as a deviation from the idealization implied in the Renaissance revival of antiquity and ridicules the obsession with the imitation of classical models of beauty, perfection, and symmetry.<\/p>\n<div id=\"attachment_183\" style=\"width: 710px\" class=\"wp-caption alignnone\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-183\" class=\"wp-image-183 size-full\" src=\"https:\/\/blogs.history.qmul.ac.uk\/litcaricature\/files\/2017\/03\/8_tiziano_laocoonte.jpg\" alt=\"\" width=\"700\" height=\"483\" srcset=\"https:\/\/blogs.history.qmul.ac.uk\/litcaricature\/files\/2017\/03\/8_tiziano_laocoonte.jpg 700w, https:\/\/blogs.history.qmul.ac.uk\/litcaricature\/files\/2017\/03\/8_tiziano_laocoonte-300x207.jpg 300w\" sizes=\"auto, (max-width: 700px) 100vw, 700px\" \/><p id=\"caption-attachment-183\" class=\"wp-caption-text\">Niccol\u00f2 Boldrini, Caricature of the Laocoon, after Titian, 1540,\u00a0National Gallery of Art, Washington D.C., public domain.<\/p><\/div>\n","protected":false},"excerpt":{"rendered":"<p>In 1540 Niccol\u00f2 Boldrini engraved this\u00a0surprising caricature after a drawing by Titian. The deformation of a renowned and deeply respected image such as the Laocoon affirms caricature as a deviation from the idealization implied in the Renaissance revival of antiquity &hellip; <a href=\"https:\/\/blogs.history.qmul.ac.uk\/litcaricature\/2017\/03\/22\/of-monkeys-and-men\/\">Continue reading <span class=\"meta-nav\">&rarr;<\/span><\/a><\/p>\n","protected":false},"author":22,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2,17,10],"tags":[21,55,27,53,28,81,51,54,52],"class_list":["post-182","post","type-post","status-publish","format-standard","hentry","category-16th-century","category-literary-characters","category-prints","tag-body","tag-full-lenght-portrait","tag-italy","tag-laocoon","tag-man","tag-monkey","tag-niccolo-boldrini","tag-sculpture","tag-titian"],"_links":{"self":[{"href":"https:\/\/blogs.history.qmul.ac.uk\/litcaricature\/wp-json\/wp\/v2\/posts\/182","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/blogs.history.qmul.ac.uk\/litcaricature\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/blogs.history.qmul.ac.uk\/litcaricature\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/blogs.history.qmul.ac.uk\/litcaricature\/wp-json\/wp\/v2\/users\/22"}],"replies":[{"embeddable":true,"href":"https:\/\/blogs.history.qmul.ac.uk\/litcaricature\/wp-json\/wp\/v2\/comments?post=182"}],"version-history":[{"count":5,"href":"https:\/\/blogs.history.qmul.ac.uk\/litcaricature\/wp-json\/wp\/v2\/posts\/182\/revisions"}],"predecessor-version":[{"id":241,"href":"https:\/\/blogs.history.qmul.ac.uk\/litcaricature\/wp-json\/wp\/v2\/posts\/182\/revisions\/241"}],"wp:attachment":[{"href":"https:\/\/blogs.history.qmul.ac.uk\/litcaricature\/wp-json\/wp\/v2\/media?parent=182"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/blogs.history.qmul.ac.uk\/litcaricature\/wp-json\/wp\/v2\/categories?post=182"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/blogs.history.qmul.ac.uk\/litcaricature\/wp-json\/wp\/v2\/tags?post=182"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}