This book explores interaction and competition between painting and literature in France, from the late nineteenth century to the early twentieth, offering new readings of works by key figures including Paul Gauguin, Stéphane Mallarmé, Pablo Picasso and André Gide. Combining close visual and literary analysis with a broader examination of critical discourse, the volume uncovers a mutual but often contentious exchange of ideas. The author challenges habits of periodisation, drawing attention to the links between Symbolist and Cubist criticism. Issues such as the debate about ‘literary’ painting, the role of art criticism and artists’ writings, as well as themes such as newspapers and gold, alchemy and forgery, are shown to connect the two centuries. In examining how the rejection of mimesis in painting affected literary responses to the visual arts, the book explores a shift in power from the verbal to the visual in the early decades of the twentieth century.
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