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“Still, no one much celebrated having found a previously unknown painter [Marie Denise Villers] who was equal to the great David. Though the public continued to love the painting - they may not have known David from Delacroix, at any rate - soma academics had a change of heart about the painting itself. Sterling (see start of chapter) said some not-very nice things, beginning with, "The notion that our portrait may have been painted by a woman is, let us confess, an attractive idea." Why attractive? Because it explains everything wrong with the work: "cleverly concealed weaknesses" and "a thousand subtle artifices" that all add up to "the feminine spirit." In other words: Isn't that just like a woman?”

“[..] And here, suddenly, was Woolf's own talented sister. The one who survived. The sister who painted. My first thought was: how sad. What fate could be worse than to be in close proximity to genius, capable of recognizing it, but, alas, something less-than? And Woolf's sister Vanessa Bell must have been less-than, because I'd barely heard of her. How terrible, and sadly typical, that in my long pursuit of women artists I'd apparently learned nothing. Least of all, that they are all too easily lost to time, a condition rarely any reflection on their talent.”