![]() The jolly toper in the Rijksmuseum, Amsterdam (reproduced p. Fletcher’s $2 million, one wonders, a record price for a woman artist?) She had been one of David’s pupils, and her extraordinary power and originality was proclaimed, all unawares, by four generations of male-chauvinist art experts. David and that it is probably by Constance-Marie Charpentier. Charles Sterling published in the Bulletin of the Metropolitan Museum an essay proving (as conclusively as such matters ever can be proved) that the portrait is not by J.-L. ![]() The painting was unanimously accepted by a consensus of experts as one of the great masterpieces by Jacques-Louis David, who founded the dominant 19th-century style of Neo-Classicism-until about 10 years ago when Prof. (As the press-release was prepared in collaboration with the gallery that sold the portrait, there is no reason to doubt the quoted price, nor that the Fletchers paid the contemporary equivalent of about $2 million.) Fletcher is said to have paid $200,000 for this great David.” “As one of the masterpieces of this artist, the Fletcher picture will henceforth be known in the art world as ‘the New York David,’ just as we speak of the Man with a Fur Cap of the Hermitage, or the Sistine Madonna of Dresden…Mr. ![]() ARTnews’ files preserve the press-release issued on the occasion it states that: Charlotte du Val d’Ognes which was bequeathed to the Metropolitan Museum by Isaac Dudley Fletcher in 1917 (see cover detail and p. It could be phrased: “Why Have There Been No Great Women Artists even though women have produced great works of art?” Nochlin’s essay in these pages suggest that a clause could be added to her question which makes it even more equivocal. ![]()
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