ABSTRACT
Ignoring the journalistic brickbats which continued to be hurled at the collection of paintings at the Grafton Galleries, Fry gave a calm and reasoned exposition of what he considered to be the principal features of Post-Impressionist art — though he avoids the term. Characteristically his argument draws upon historical precedents. The second part of this article was published in December 1910 (see no. 21).
