PRINT December 2006

Carol Armstrong

IT MIGHT SEEM THAT “From Cézanne to Picasso: Ambroise Vollard, Patron of the Avant-Garde,” the superb show currently on view at the Metropolitan Museum of Art in New York, is all about modern art dealing. Indeed, some say this exhibition, which concentrates on the sales, shows, commissions, and purchases of the latenineteenth-, early-twentieth-century Parisian art dealer Ambroise Vollard, predicts the current art market, the contemporary art scene, and the world of art dealing in present-day New York. Not so.

Though “From Cézanne to Picasso” takes its motive from Vollard’s dealership, and though it contains a lot of important information about his practices as an art dealer, it is finally a show about the art, not the art market. Furthermore, while it is possible to draw comparisons between art dealing then, in Paris, and art dealing now, in New York, those comparisons point to contrasts,

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