{"id":3340,"date":"2016-11-27T16:10:50","date_gmt":"2016-11-27T14:10:50","guid":{"rendered":"https:\/\/sbunker.org\/?p=3340"},"modified":"2025-01-10T16:34:50","modified_gmt":"2025-01-10T14:34:50","slug":"me-e-vrazhde-se-caravaggio-gruaja-qe-u-hakmor-ne-vaj","status":"publish","type":"post","link":"https:\/\/sbunker.org\/sr\/kritike\/me-e-vrazhde-se-caravaggio-gruaja-qe-u-hakmor-ne-vaj\/","title":{"rendered":"M\u00eb e vrazhd\u00eb se Caravaggio: gruaja q\u00eb u hakmor n\u00eb vaj"},"content":{"rendered":"
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Artemisia Gentileschi ktheu tmerret e jet\u00ebs s\u00eb saj \u2013 shtypjen, padrejt\u00ebsin\u00eb, p\u00ebrdhunimin \u2013 n\u00eb piktura biblike brutale q\u00eb qen\u00eb poashtu edhe piskama lufte p\u00ebr grat\u00eb e shtypura. Pse nuk \u00ebsht\u00eb v\u00ebn\u00eb re dhuntia e saj e jasht\u00ebzakonshme?<\/em><\/div>\n
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Jonathan Jones<\/strong><\/p>\n

Dy gra po e mbajn\u00eb nj\u00eb burr\u00eb t\u00eb ngulitur p\u00ebr shtrati. Nj\u00ebra ia shtyp kok\u00ebn me grusht, n\u00eb m\u00ebnyr\u00eb q\u00eb ai t\u00eb mos mund ta ngrej\u00eb at\u00eb nga dysheku, nd\u00ebrsa shoq\u00ebruesja e saj ia mb\u00ebrthen bustin n\u00eb vend. T\u00eb gjith\u00eb duken t\u00eb fort\u00eb me krah\u00eb t\u00eb fuqish\u00ebm, por me gjith\u00eb k\u00ebt\u00eb atyre u duhet fuqia e p\u00ebrbashk\u00ebt p\u00ebr ta mbajtur viktim\u00ebn e tyre t\u00eb pal\u00ebvizshme teksa nj\u00ebra nga to ia pren fytin me nj\u00eb shpat\u00eb t\u00eb ndritshme. Gjaku rrjedh \u00e7urk nga gejzer\u00ebt e kuq t\u00eb thell\u00eb nd\u00ebrkoh\u00eb q\u00eb ajo e sharron. Ajo s\u2019do t\u00eb ndalet derisa koka t\u00eb jet\u00eb t\u00ebr\u00ebsisht e k\u00ebputur. Syt\u00eb e viktim\u00ebs s\u00eb saj jan\u00eb t\u00eb zgurdulluar. Ai e di shum\u00eb mir\u00eb se \u00e7far\u00eb po i ndodh.<\/p>\n

Burri q\u00eb po vdes \u00ebsht\u00eb Holofernesi, nj\u00eb armik i izraelit\u00ebve n\u00eb Dhjat\u00ebn e Vjet\u00ebr, dhe gruaja e re q\u00eb po i k\u00ebput kok\u00ebn \u00ebsht\u00eb Judith, vras\u00ebsja e tij e em\u00ebruar nga hyjnia. E megjithat\u00eb, n\u00eb t\u00eb nj\u00ebjt\u00ebn koh\u00eb ai \u00ebsht\u00eb poashtu piktori italian i quajtur Agostino Tassi, p\u00ebrderisa gruaja me shpat\u00eb \u00ebsht\u00eb Artemisia Gentileschi, q\u00eb e pikturoi k\u00ebt\u00eb sken\u00eb. Ky \u00ebsht\u00eb, realisht, nj\u00eb autoportret (t\u00eb cilin mund ta shihni k\u00ebtu<\/a>).<\/p>\n

Dy piktura t\u00eb m\u00ebdha t\u00eb zhytura n\u00eb gjak t\u00eb Judithit dhe Holofernesit nga Gentileschi mbijetojn\u00eb, nj\u00ebra n\u00eb Capodimonte t\u00eb Napolit, dhe tjetra n\u00eb Uffizi t\u00eb Firences. T\u00eb dyja jan\u00eb gati identike pos disa detajeve \u2013 n\u00eb Napoli fustani i Judithit \u00ebsht\u00eb i kalt\u00ebr, n\u00eb Firence i verdh\u00eb \u2013 sikur ky imazh t\u00eb ishte nj\u00eb makth q\u00eb e mundonte vazhdimisht, akti i fundit i nj\u00eb tragjedie q\u00eb p\u00ebrs\u00ebritet pafund\u00ebsisht n\u00eb kok\u00ebn e saj.<\/p>\n

\u201cKjo \u00ebsht\u00eb unaza q\u00eb m\u00eb dhe, dhe k\u00ebto jan\u00eb premtimet e tua!\u201d \u00e7irrte Gentileschi n\u00ebsa ajo po torturohej n\u00eb nj\u00eb sall\u00eb gjyqi n\u00eb Rom\u00eb m\u00eb 1612. Litar\u00ebt i qen\u00eb lidhur rreth gishtave dhe i qen\u00eb t\u00ebrhequr fort. Gjykat\u00ebsi e kishte k\u00ebshilluar p\u00ebr nj\u00eb p\u00ebrdorim t\u00eb moderuar t\u00eb sibille-it, p\u00ebrgjat\u00eb shpalljes s\u00eb k\u00ebsaj torture, meq\u00eb ajo qe mbi t\u00eb gjitha 18 vje\u00e7. N\u00eb an\u00ebn tjet\u00ebr t\u00eb sall\u00ebs qe i ulur burri i cili e kishte p\u00ebrdhunuar at\u00eb. Askujt nuk i shkoi n\u00eb mendje ta torturonte at\u00eb. Mosp\u00ebrfillsh\u00ebm, Gentileschi i thoshte se vidat e gishtave ishin unaza e martes\u00ebs q\u00eb ai i pat premtuar. P\u00ebrs\u00ebri e p\u00ebrs\u00ebri, ajo nguli k\u00ebmb\u00eb se d\u00ebshmia e saj p\u00ebr p\u00ebrdhunimin qe e besueshme: \u201c\u00cbsht\u00eb e v\u00ebrtet\u00eb, \u00ebsht\u00eb e v\u00ebrtet\u00eb, \u00ebsht\u00eb e v\u00ebrtet\u00eb, \u00ebsht\u00eb e v\u00ebrtet\u00eb.\u201d<\/p>\n

Gentileschi qe artistja m\u00eb e mir\u00eb fem\u00ebr e koh\u00ebs s\u00eb barokut dhe nj\u00ebra prej ndjek\u00ebseve m\u00eb briliante t\u00eb artistit nxit\u00ebs Caravaggio,\u00a0piktura e tmerrshme Judith dhe Holofernes e t\u00eb cilit<\/a>\u00a0e influencoi t\u00eb saj\u00ebn. Me fjal\u00eb dhe imazhe, ajo luftoi kund\u00ebr dhun\u00ebs mashkullore q\u00eb dominonte bot\u00ebn n\u00eb t\u00eb cil\u00ebn jetonte ajo.<\/p>\n

Gentileschi arriti di\u00e7ka aq t\u00eb pangjashme, aq af\u00ebr t\u00eb pabesueshmes, saq\u00eb ajo meriton t\u00eb jet\u00eb nj\u00ebra prej artist\u00ebve m\u00eb t\u00eb famsh\u00ebm n\u00eb bot\u00eb. Nuk \u00ebsht\u00eb thjesht p\u00ebr shkak se ajo u b\u00eb nj\u00eb artiste shum\u00eb e suksesshme n\u00eb nj\u00eb koh\u00eb kur shoqatat dhe akademit\u00eb u mbyll\u00ebn dyert grave. Ajo poashtu b\u00ebri nj\u00eb gj\u00eb q\u00eb asnj\u00eb prej grave t\u00eb tjera t\u00eb barokut dhe Rilindjes q\u00eb pat\u00ebn sukses si artist\u00eb, nuk pat\u00ebn mund\u00ebsi t\u00eb arrinin: ajo komunikoi nj\u00eb vizion t\u00eb fuqish\u00ebm vetjak. Pikturat e saj jan\u00eb duksh\u00ebm autobiografike. Sikurse Frida Kahlo, Louise Bourgeois apo Tracey Emin, ajo e shprehu jet\u00ebn e saj n\u00eb artin e saj.<\/p>\n

E \u00e7far\u00eb jete brutalisht t\u00eb shkat\u00ebrruar pat ajo. N\u00eb bot\u00ebn e eg\u00ebr t\u00eb artit, n\u00eb Rom\u00ebn e Caravaggios, artist\u00ebt qen\u00eb t\u00eb pasur, arrogant\u00eb dhe mund t\u00eb b\u00ebnin \u00e7far\u00eb t\u2019u donte qejfi derisa papa t\u2019i kishte n\u00eb sy t\u00eb mir\u00eb. Gentileschi duhet ta kishte takuar Caravaggion shum\u00eb her\u00eb si f\u00ebmij\u00eb: mbase ai e kishte inkurajuar at\u00eb q\u00eb t\u00eb pikturonte. I ati i saj Orazio, poashtu artist i talentuar, qe mik i ngusht\u00eb i Caravaggios. M\u00eb 1603, Orazio dhe Caravaggio u paraqit\u00ebn n\u00eb gjyq s\u00eb bashku pasi q\u00eb kishin shkarravitur shpifje rreth nj\u00eb artisti armik n\u00eb rrug\u00ebt e Rom\u00ebs. N\u00eb d\u00ebshimin\u00eb e tij, Orazio rast\u00ebsisht p\u00ebrmend faktin sesi Caravaggio pat ardhur n\u00eb sht\u00ebpin\u00eb e tij p\u00ebr t\u00eb huazuar nj\u00eb pal\u00eb krah\u00eb engj\u00eblli.<\/p>\n

Kjo na jep nj\u00eb fotografi t\u00eb k\u00ebndshme t\u00eb f\u00ebminis\u00eb s\u00eb Gentileschit: Caravaggio i madh q\u00eb shfaqet befas p\u00ebr t\u00eb k\u00ebrkuar gj\u00ebra. E lindur m\u00eb 1593, ajo qe 10 vje\u00e7 kur ndodhi kjo. Kur ajo qe 13, katastrofa ra mbi rrethin e Caravaggios. Ai ishte gjithmon\u00eb n\u00eb zgrip t\u00eb rrezikut \u2013 ai mbante shpat\u00eb dhe ishte i gatsh\u00ebm ta p\u00ebrdorte \u2013 por m\u00eb 1606 ai vrau nj\u00eb burr\u00eb i cili kishte miq n\u00eb gjykat\u00ebn papnore. Ai u arratis. Orazio dhe e bija e tij nuk do ta shohin kurr\u00eb m\u00eb frym\u00ebzimin e tyre.<\/p>\n

T\u00eb qenit bija e nj\u00eb artisti qe e vetmja m\u00ebnyr\u00eb q\u00eb nj\u00eb grua e re t\u00eb mund t\u00eb shpresonte t\u00eb m\u00ebsonte aft\u00ebsit\u00eb e nd\u00ebrlikuara q\u00eb duheshin p\u00ebr t\u00eb pikturuar profesionalisht n\u00eb epok\u00ebn e barokut. Duket se Orazio kishte ambicie p\u00ebr t\u00eb bij\u00ebn e tij \u2013 mbi t\u00eb gjitha, ai i kishte v\u00ebn\u00eb asaj nj\u00eb em\u00ebr t\u00eb mrekulluesh\u00ebm dhe klasik. E p\u00ebrderisa shkatht\u00ebsit\u00eb e saj po zhvilloheshin, ai pun\u00ebsoi nj\u00eb artist t\u00eb ardhsh\u00ebm, t\u00eb quajtur Agostino Tassi, q\u00eb t\u2019i jepte m\u00ebsime. Pastaj, m\u00eb 1612, Orazio e akuzoi Tassin p\u00ebr p\u00ebrdhunim t\u00eb s\u00eb bij\u00ebs, dhe gjithashtu se e kishte mashtruar at\u00eb duke i marr\u00eb nj\u00eb piktur\u00eb nga studioja e tij.<\/p>\n

Procesi gjyq\u00ebsor zgjati p\u00ebr shtat\u00eb muaj dhe shokoi Rom\u00ebn. E b\u00ebri Gentileschin me fam\u00eb \u2013 n\u00eb m\u00ebnyr\u00ebn m\u00eb t\u00eb tmerrshme t\u00eb mundshme. P\u00ebr mrekulli, \u00e7do fjal\u00eb e k\u00ebtij gjykimi mbijeton, n\u00eb nj\u00eb transkript q\u00eb hap dritaret drejt jet\u00ebve t\u00eb artist\u00ebve n\u00eb koh\u00ebn e Caravaggios. Gentileschi na flet p\u00ebrmes nj\u00eb dokumenti 400 vje\u00e7ar m\u00eb nj\u00eb z\u00eb q\u00eb \u00ebsht\u00eb elokuent, i guximsh\u00ebm dhe imponues. Ky \u00ebsht\u00eb nj\u00eb shembull i rrall\u00eb i nj\u00eb gruaje n\u00eb epok\u00ebn paramoderne q\u00eb merr q\u00ebndrim kund\u00ebr shtypjes q\u00eb ishte pjes\u00eb e jet\u00ebs s\u00eb p\u00ebrd\u00ebtishme.<\/p>\n

Ajo d\u00ebshmoi se Tassi hyri fshehtazi n\u00eb dhom\u00ebn e saj dhe filloi t\u2019i b\u00ebnte oferta t\u00eb pad\u00ebshiruara p\u00ebr seks. \u201cPastaj m\u00eb plandosi n\u00eb cep t\u00eb shtratit, duke m\u00eb shtyr\u00eb gjoksin me duar, dhe e vuri nj\u00ebrin gju mes kofsh\u00ebve t\u00eb mia q\u00eb t\u00eb mos mund t\u2019i mbyllja. Duke m\u00eb ngritur rrobat, ai vendosi nj\u00eb dor\u00eb me shami n\u00eb goj\u00eb q\u00eb t\u00eb mos mund t\u00eb b\u00ebrtisja.\u201d<\/p>\n

Ajo u p\u00ebrlesh me t\u00eb. \u201cUn\u00eb ia g\u00ebrvishta fytyr\u00ebn, – i tha ajo gjykat\u00ebs, – dhe ia shkula flok\u00ebt, para se t\u00eb m\u00eb penetronte p\u00ebrs\u00ebri, i kapa penisin aq fort saq\u00eb madje i hoqa nj\u00eb cop\u00eb t\u00eb mishit.\u201d Por ajo s\u2019mundi ta ndalonte. M\u00eb pas, ajo nxitoi p\u00ebr te nj\u00eb sirtar dhe nxori nj\u00eb thik\u00eb. \u201cDua t\u00eb t\u00eb vras me k\u00ebt\u00eb thik\u00eb sepse m\u00eb ke \u00e7nderuar,\u201d – b\u00ebrtiti ajo. Ai e zb\u00ebrtheu pallton e tij dhe tha: \u201cJa ku jam.\u201d Gentileschi e gjuajti me thik\u00eb por ai u mbrojt. \u201cP\u00ebrndryshe, – tha ajo, – mund ta kisha vrar\u00eb.\u201d<\/p>\n

Procesi gjyq\u00ebsor u karakterizua poashtu me muaj ekzaminimesh bishtnuese t\u00eb d\u00ebshmitar\u00ebve. Miq, qiramarr\u00ebs, artist\u00eb dhe t\u00eb af\u00ebrm formuan nj\u00eb pasqyr\u00eb t\u00eb vatr\u00ebs s\u00eb Gentileschit. Ajo \u00ebsht\u00eb portretizuar si nj\u00eb adoleshente e cila e kalonte gjith\u00eb koh\u00ebn duke pikturuar dhe duke dal\u00eb shum\u00eb rrall\u00eb jasht\u00eb. P\u00ebrdhunuesi i saj, nd\u00ebrkoh\u00eb, doli t\u00eb ishte nj\u00eb karakter edhe m\u00eb i lig sesa dukej n\u00eb pamje t\u00eb par\u00eb. Disa d\u00ebshmitar\u00eb pohuan se ai e kishte vrar\u00eb t\u00eb shoqen e tij \u2013 dhe ai nuk mund t\u00eb ofronte ndonj\u00eb mbrojtje t\u00eb mir\u00eb n\u00eb lidhje me k\u00ebt\u00eb.<\/p>\n

E prap\u00eb se prap\u00eb Gentileschi u torturua nd\u00ebrsa Tassi u lirua. Pse? Ai ishte i mbrojtur prej pap\u00ebs, sepse arti i tij \u2013 i harruar sot \u2013 asokohe vler\u00ebsohej lart. \u00c7dokush e dinte se ai qe nj\u00eb maskara. \u201cTassi \u00ebsht\u00eb i vetmi prej k\u00ebtyre artist\u00ebve i cili nuk m\u00eb ka zhg\u00ebnjyer asnj\u00ebher\u00eb,\u201d tha Papa Inocenti X. Artist\u00ebt e tjer\u00eb shtireshin sikur t\u00eb ishin njer\u00ebz t\u00eb nderit, shpjegonte ai, por q\u00eb e kishin l\u00ebn\u00eb n\u00eb balt\u00eb. Me t\u00eb paz\u00ebvend\u00ebsueshmin Tassi, ai e dinte se me k\u00eb kishte t\u00eb b\u00ebnte.<\/p>\n

Gentileschi, ende nj\u00eb adoleshente, kur u p\u00ebrfundua procesi, qe turp\u00ebruar n\u00eb nj\u00eb kultur\u00eb ku nderi ishte gjith\u00e7ka. E prap\u00eb se prap\u00eb kjo i dha asaj nj\u00eb publicitet monstruoz. P\u00ebrgjat\u00eb viteve 1620, ajo u b\u00eb nj\u00eb artiste e suksesshme q\u00eb punonte sa m\u00eb larg q\u00eb mund t\u00eb ishte nga Roma. Ajo po hakmerrej me t\u00eb vetmen arm\u00eb q\u00eb kishte n\u00eb duar: brush\u00ebn. Ajo nuk mund t\u00eb shkruante tregimin e saj sepse, si\u00e7 tregoi gjat\u00eb procesit, ajo qe pak a shum\u00eb analfabete. Ajo mund ta pikturonte at\u00eb tregim, megjithat\u00eb, dhe t\u2019i ndryshonte p\u00ebrfundimin \u2013 si\u00e7 tregojn\u00eb pikturat e saj t\u00eb Judithit dhe Holofernesit.<\/p>\n

P\u00ebrfundimisht, Gentileschi sjell nj\u00eb element t\u00eb tregimit biblik q\u00eb nuk i kishte shkuar nd\u00ebrmend asnj\u00eb artisti mashkull. N\u00eb shumic\u00ebn e pikturave, duke p\u00ebrfshir\u00eb pasqyrimin halu\u00e7inues t\u00eb Caravaggios, Judith ka nj\u00eb sh\u00ebrb\u00ebtore e cila pret q\u00eb t\u00eb marr\u00eb kok\u00ebn e prer\u00eb. Por Gentileschi e p\u00ebrfaq\u00ebson sh\u00ebrb\u00ebtoren si nj\u00eb grua t\u00eb re e t\u00eb fort\u00eb, e cila merr pjes\u00eb aktivisht n\u00eb vrasje. Kjo shkakton dy gj\u00ebra. I shton sken\u00ebs nj\u00eb realiz\u00ebm t\u00eb eg\u00ebr t\u00eb cilin as Caravaggio nuk e kishte menduar – do t\u00eb duheshin dy gra p\u00ebr ta vrar\u00eb k\u00ebt\u00eb shtaz\u00eb. Por kjo gjithashtu i jep sken\u00ebs nj\u00eb implikim revolucionar. \u201c\u00c7far\u00eb do t\u00eb ndodhte, – pyeste veten Gentileschi, – po t\u00eb bashkoheshin grat\u00eb? A do t\u00eb mund ta luftonim k\u00ebt\u00eb bot\u00eb t\u00eb sunduar prej burrave?\u201d<\/p>\n

Pastaj \u00ebsht\u00eb piktura e vitit 1622 e quajtur Sussanah dhe Pleqt\u00eb (shiheni k\u00ebtu<\/a>). K\u00ebtu, p\u00ebrs\u00ebri, ajo p\u00ebrdor nj\u00eb tregim biblik p\u00ebr t\u00eb dramatizuar at\u00eb se \u00e7far\u00eb do t\u00eb thoshte t\u00eb ishe grua n\u00eb shekullin e shtat\u00ebmb\u00ebdhjet\u00eb. Dy burra t\u00eb moshuar po e p\u00ebrgjojn\u00eb nj\u00eb grua t\u00eb re q\u00eb lahet, por Gentileschi e nxjerr n\u00eb pah edhe m\u00eb shum\u00eb ngjethshm\u00ebrin\u00eb e k\u00ebsaj skene duke i b\u00ebr\u00eb burrat q\u00eb t\u00eb shfaqen dhe t\u00eb ngulin syt\u00eb haptas, nd\u00ebrsa artist\u00ebt tjer\u00eb priren t\u2019i shfaqin ata duke u fshehur n\u00eb larg\u00ebsi. P\u00ebrse i pasqyron ajo sodit\u00ebsit si totalisht t\u00eb pasikletosur, duke mos u p\u00ebrpjekur fare t\u00eb fshehin epshin e tyre dhe nd\u00ebrhyrjen n\u00eb hap\u00ebsir\u00ebn e Susannahs?<\/p>\n

Ky \u00ebsht\u00eb nj\u00eb efekt shqet\u00ebsues, nj\u00eb p\u00ebrkujtim i parehatsh\u00ebm i persekutimit t\u00eb saj. Gjat\u00eb procesit gjyq\u00ebsor, u mor vesh se Tassi kishte nj\u00eb bashk\u00ebfajtor q\u00eb poashtu e d\u00ebshironte at\u00eb. Q\u00eb t\u00eb dy vazhduan t\u2019i silleshin, ta ngacmonin, ta shikonin, sikur sodit\u00ebsit q\u00eb e mundonin Sussanahn. Trauma e p\u00ebrdhunimit t\u00eb Gentileschit dhe procesi i cili nuk i dha drejt\u00ebsi, nuk iu nda artit t\u00eb saj. E prap\u00ebseprap\u00eb, ajo nuk u shkat\u00ebrrua nga vuajtja e saj. P\u00ebrkundrazi, fuqia e brendshme e pikturave t\u00eb saj e shnd\u00ebrroi n\u00eb nj\u00ebr\u00ebn prej artist\u00ebve m\u00eb t\u00eb famsh\u00ebm n\u00eb Evrop\u00eb.<\/p>\n

Madje edhe oborri i larg\u00ebt britanik kishte d\u00ebgjuar p\u00ebr t\u00eb. M\u00eb 1638, Charlesi i par\u00eb, e ftoi personalisht p\u00ebr vizit\u00eb n\u00eb Lond\u00ebr q\u00eb t\u00eb punonte p\u00ebr t\u00eb. Aty, Gentileschi pikturoi at\u00eb q\u00eb mund t\u00eb jet\u00eb piktura e saj m\u00eb origjinale dhe m\u00eb e r\u00ebnd\u00ebsishme. N\u00eb Autoportretin si Alegori e Piktur\u00ebs (shiheni k\u00ebtu<\/a>) ajo p\u00ebrshkruan veten si nj\u00eb karakter muskuloz, dinamik dhe i fort\u00eb, sikurse ato grat\u00eb q\u00eb mbajn\u00eb t\u00eb n\u00ebnshtruar Holofernesin. N\u00eb vend t\u00eb shpat\u00ebs, ajo \u00ebsht\u00eb e armatosur me nj\u00eb brush\u00eb. Shekuj para feminizmit, Gentileschi l\u00ebviz p\u00ebrgjat\u00eb hap\u00ebsir\u00ebs me nj\u00eb rrjedhshm\u00ebri t\u00eb jasht\u00ebzakonshme, krijuese e imazhit t\u00eb saj, heroin\u00eb e jet\u00ebs s\u00eb saj.
\n____________<\/p>\n

Vepra e plot\u00eb e\u00a0Gentileschi-t.<\/a><\/p>\n

Artikulli origjinal i botuar n\u00eb\u00a0The Guardian,<\/em>\u00a0m\u00eb 5 tetor 2016.<\/p>\n

P\u00ebrkthyer nga Bardhi Bakija<\/p>\n<\/div>\n<\/div>","protected":false},"excerpt":{"rendered":"

Artemisia Gentileschi ktheu tmerret e jet\u00ebs s\u00eb saj \u2013 shtypjen, padrejt\u00ebsin\u00eb, p\u00ebrdhunimin \u2013 n\u00eb piktura biblike brutale q\u00eb qen\u00eb poashtu edhe piskama lufte p\u00ebr grat\u00eb e shtypura. Pse nuk \u00ebsht\u00eb v\u00ebn\u00eb re dhuntia e saj e jasht\u00ebzakonshme? Jonathan Jones Dy gra po e mbajn\u00eb nj\u00eb burr\u00eb t\u00eb ngulitur p\u00ebr shtrati. Nj\u00ebra ia shtyp kok\u00ebn me […]<\/p>","protected":false},"author":610,"featured_media":11966,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[14],"tags":[736,2305],"ppma_author":[2304],"class_list":["post-3340","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-kritike","tag-art","tag-artemisia-gentileschi"],"authors":[{"term_id":2304,"user_id":610,"is_guest":0,"slug":"jonathanj-jones","display_name":"Jonathan Jones","avatar_url":{"url":"https:\/\/sbunker.org\/wp-content\/uploads\/2025\/01\/KOIr7MbS_400x400.jpg","url2x":"https:\/\/sbunker.org\/wp-content\/uploads\/2025\/01\/KOIr7MbS_400x400.jpg"},"user_url":"","last_name":"Jones","first_name":"Jonathan","description":"onathan Jones is a British art critic who has written for The Guardian since 1999. He has appeared in the BBC television series Private Life of a Masterpiece and in 2009 was a judge for the Turner Prize. He has also been a judge for the BP Portrait Award"}],"_links":{"self":[{"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/posts\/3340","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/users\/610"}],"replies":[{"embeddable":true,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/comments?post=3340"}],"version-history":[{"count":3,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/posts\/3340\/revisions"}],"predecessor-version":[{"id":11967,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/posts\/3340\/revisions\/11967"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/media\/11966"}],"wp:attachment":[{"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/media?parent=3340"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/categories?post=3340"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/tags?post=3340"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/ppma_author?post=3340"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}