Abstract
Ambroise Vollard's Paul Cézanne, published in Paris in 1914, is one of a number of what might loosely be called ‘biographies’ of those key painters whose work the dealer sold. It is like the others: a collection of what reads like fantastic tales by a self-promoting businessman who wanted to increase the value of his stock. Yet right at its heart lies a story that serves as a metaphor for the relationship between word and image, raises questions about the ekphrastic exegeses of non-narrative painting, and also throws some light on Cézanne's so-called mamère couillarde or ‘spunky style’ of the 1860s.
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