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An influential art critic in the early years of the twentieth century journeys from London to the rustic, remote island of Houat, off France's northwest coast, to sit for a portrait painted by an old friend, a gifted but tormented artist living in se lf -imposed exile. Over the course of the sitting, the painter recalls their years of friendship, the double -edged gift of the critic's patronage, the power he wielded over aspiring artists, and his apparent callousness inanointing the careers of so me and devastating the lives of others.
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