Question: In what year was the art critic which The Old Masters is about born?

Context paragraphs:
Carroll N. Jones III: Carroll Nathaniel Jones III (July 2, 1944 - June 22, 2017) was an artist in the style of American realism.  Carroll grew up in New Providence, New Jersey where his father, an illustrator for Life (magazine), was his first art teacher.  He taught Carroll techniques of the Old Masters, who emphasized light, perspective, and composition.  Carroll went to school in New York City (NYC) and enrolled in the Phoenix School of Design at age 17.  He later attended Hartford Art School and became a commissioned portraitist for 10 years.  His work, "Church Window" was recognized in the New York Times, and he moved away from portraits to recreate scenes that sparked memories of his childhood.  He was most influenced by Andrew Wyeth and Edward Hopper.  The Coe-Kerr Gallery of NYC and Whistler's Daughter Gallery of New Jersey represented him, as well as contemporaries Wyeth and Hopper.  Malcolm Forbes, Frederick R. Koch, Stephen Sondheim, William Schuman, and Jean Shepherd held private collections of his work.  He exhibited at Newark Museum and Trenton Art Museum in New Jersey, and in universities, galleries and museums in seven states by his mid-thirties.  His work is part of the permanent collections of Seton Hall University and Newark Museum.  Art critic Marion Filler considered his work Magic realism, a quiet movement made popular in America beginning in the 1920s by Hopper, and related to Surrealism.

Bernard Berenson: Bernard Berenson (June 26, 1865 – October 6, 1959) was an American art historian specializing in the Renaissance.  His book "The Italian Painters of the Renaissance" was an international success.

James Jackson Jarves: James Jackson Jarves (1818–1888) was an American newspaper editor, and art critic who is remembered above all as the first American art collector to buy Italian primitives and Old Masters.

Denys Sutton: Denys Miller Sutton (10 August 1917 – 30 January 1991) was a British art critic and historian known for his focus on European artists before 1800 (Old Masters) and Asian art.  He was art critic for the "Financial Times" and editor of "Apollo" magazine.

Hockney–Falco thesis: The Hockney–Falco thesis is a theory of art history, advanced by artist David Hockney and physicist Charles M. Falco.  Both claimed that advances in realism and accuracy in the history of Western art since the Renaissance were primarily the result of optical instruments such as the camera obscura, camera lucida, and curved mirrors, rather than solely due to the development of artistic technique and skill.  Nineteenth-century artists' use of photography had been well documented.  In a 2001 book, "Secret Knowledge: Rediscovering the Lost Techniques of the Old Masters", Hockney analyzed the work of the Old Masters and argued that the level of accuracy represented in their work is impossible to create by "eyeballing it".  Since then, Hockney and Falco have produced a number of publications on positive evidence of the use of optical aids, and the historical plausibility of such methods.  The hypothesis led to a variety of conferences and heated discussions.

Jerry Saltz: Jerry Saltz (born February 19, 1951) is an American art critic.  Since 2006, he has been senior art critic and columnist for "New York" magazine.  Formerly the senior art critic for "The Village Voice", he has been nominated for the Pulitzer Prize in Criticism three times.  He has also contributed to "Art in America, Flash Art International, Frieze, Modern Painters", among various other art publications.  Saltz served as a visiting critic at The School of Visual Arts, Columbia University, Yale University, and The School of the Art Institute of Chicago and the New York Studio Residency Program, and was the sole advisor for the 1995 Whitney Biennial.  He lives in New York City with his wife Roberta Smith, senior art critic for the New York Times.

Brian Sewell: Brian Sewell ( ; 15 July 1931 – 19 September 2015) was an English art critic and media personality.  He wrote for the "London Evening Standard" and was noted for his acerbic view of conceptual art and the Turner Prize. " The Guardian" described him as "Britain's most famous and controversial art critic", while the "Standard" called him the "nation’s best art critic", and Artnet News called him the United Kingdom's "most famous and controversial art critic".

Gennaro Favai: Gennaro Favai was born in Venice in 1879, son of Luigi Favai and contessa Teresa Albrizzi.  In his formative years Favai studied the old masters; the Dutch and Spanish schools of the seventeenth century, the English school of the eighteenth century, and the French school of the nineteenth century (Borgmeyer 1912).  Around 1895, shortly after enrolling in the Academy of Fine Arts in Venice, Favai was expelled.  He continued to study under Vittore Zanetti Zilla, and formed a long lasting friendship with Mario de Maria.  In 1898 Favai first exhibited work in the "Società Promotrice Firenze", Firenze, Italy.  Favai received increasing exposure through the 1904 St Louis Exposition, in the Paris "Salon Société Nationale des Beaux-Arts" 1905 exposition, and the 1907 Venice Biennale.  In 1912, art critic Charles Louis Borgmeyer wrote an article on Favai’s early works in the Fine Arts Journal (Borgmeyer 1912).

Modern Painters: Modern Painters (1843–60) is a five-volume work by the eminent Victorian art critic, John Ruskin, begun when he was 24 years old.  Ruskin argues that recent painters emerging from the tradition of the picturesque are superior in the art of landscape to the old masters.  The book was primarily written as a defence of the later work of J.M.W. Turner.  Ruskin used the book to argue that art should devote itself to the accurate documentation of nature.  In Ruskin's view, Turner had developed from early detailed documentation of nature to a later more profound insight into natural forces and atmospheric effects.  It was in his 1842 visit to Switzerland that Ruskin collected material used to form the basis of Vol One.

The Old Masters (play): The Old Masters is a play by Simon Gray about the art critic Bernard Berenson and the art dealer Joseph Duveen.  It is set over one evening in Berenson's Italian home, Villa I Tatti, near Florence, in 1937.

Supporting paragraphs: The Old Masters (play) Bernard Berenson
Answer: 1865