ABSTRACT
Berenson (1865-1959), like Fry, was well known as a connoisseur of Italian art, yet he was prompted by a hostile review of the French Salon d’Automne to publicly defend the drawings of Matisse in the American journal the Nation. He bought a landscape (illustrated in Benedict Nicolson, ‘Roger Fry and Post-Impressionism’, Burlington Magazine, March 1951, xciii, opp. p. i) from Matisse’s studio which he lent to the first Post-Impressionist exhibition in 1910 (see headnote for no. 9).
