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Kimberly Ann Phoenix  

The Dealer-Critic can be both good and bad for an artist.  As pointed out in the reading if a dealer wants to take a risk on a new artist a career can be launched, but equally  if an artist work is not appreciated by the critics their paintings will not be viewed or sold.  This was the case with the 1889 showing of Monet's' painting in London

Maison du Jardinier or Bordighera, la Méditerranée, 1884

While I do not know what 20 paintings where displayed these are three that could have been a part of that exhibition.  Because of a bad review people did not some to see, although at the time it seems that the style was to new, it is sad.  History has a way of sometimes correcting the wrongs, how thrilled most people would be to go and see 20 of Monet's painting together. 

            Dealers and Critics can in a way sensor what we view and/or have the chance to buy.  I would be very costly for each artist to have there own business to promote and sell their work.  In this regard some of the creative aspect of art is lost, in order to survive you must sell paints so you need the dealers.   In what can only happen today because of the media I will be heading to the Agora Gallery to see the paintings done by Aelita Andre.  She is a four-year-old Australian girl, who is having her first solo exhibition in New York_.  _I will be interested to see her work but wonder if the price of $30,000 paid for one of her painting is really justified.  Is it a dealer asking the right price or is a critic making something out of nothing?

http://www.huffingtonpost.com/2011/06/06/four-year-old-girl-has-fi_n_872178.htm

so I had three of Monet's painting but only one would copy?... so here is the link to view other early paintinhttp://www.impressionistsgallery.co.uk/artists/Artists/mno/monet/89-99.html