This chapter explores the context and after-effects of the exhibition ‘Manet and the Postimpressionists’ (1910). While seen, rightfully, as a central moment in modernism’s introduction to the British public, by way of the encounter with the work of Manet, Cezanne, Van Gogh, Matisse and others, few studies have engaged with the explanatory and educational context of the exhibition, nor on the ways in which Postimpressionism became so central to British modernist design and decoration. This chapter, in particular, looks at Roger Fry’s writings on Postimpressionism, and argues that the term was simultaneously one that denoted both an artistic style and a pedagogical strategy designed to educate public taste.
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