Talk:Gertrude Stein/Archive 1
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Moved a paragraph submitted by another editor, to a section called "Political Views"
I moved this material to a new section called Political Views, further down in the article. I'm not sure about the source for the second paragraph.
Gertrude was politically ambiguous, but clear on at least two points: she disapproved of unemployment when she had trouble getting servants (Hobhouse, 1975, p.209), and she had "a general dislike of father figures." (Ibid.) As for the unemployed she said,
'It is curious very curious . . . that when there is a great deal of unemployment and misery you can never find anybody to work for you.' 'But that is natural enough . . . because if everybody is unemployed everybody loses the habit of work, and work like revolutions is a habit it just naturally is.'
(Ibid., with citations to Gertrude Stein's words in Everybody's Biography). As for father figures, Gertrude's thoughts and deeds demonstrated a bipartisan disrespect for political father figures:
she disliked Trotsky as much as Franco, and Roosevelt as much as either, and she referred to liberals like Blum as 'people with unhappy childhoods'. It was a position that irritated her friends. When William Rogers sent her a packet of American corn seeds and warned her not to give any of the corn to her fascist neighbours in Bilignin, Gertrude returned the gift with a request: 'please send us unpolitical corn.' Why shouldn't she give her friends the corn, she asked, 'why not if the fascists like it and we like the fascists . . . '.
(Hobhouse, 1975, p. 210, with citation to W.G. Rogers, When This You See Remember Me: Gertrude Stein in Person, Rinehard, New York, 1948).
Other writers have described Stein as a conservative [citation needed]; she regarded the jobless as lazy, and opposed Franklin D. Roosevelt and his New Deal.[citation needed] She advocated the Nationalist (Francoist) side during the Spanish Civil War.[citation needed] One Stein researcher described her as "a 19th century Republican; in her manners and manner of speech she was Victorian; socially was more liberal than not, with developed individualism coupled with democratic values based in pragmatism; thus at the opening of the German occupation of France she favored collaborative Vichy government, but by the end she did not, having witnessed firsthand the hardship it brought to the peasants." Judy Grahn (1989)(pp.140-41)
deleted
Other writers have described Stein as a conservative [citation needed]; she regarded the jobless as lazy, and opposed Franklin D. Roosevelt and his New Deal.[citation needed] She advocated the Nationalist (Francoist) side during the Spanish Civil War.[citation needed] One Stein researcher described her as "a 19th century Republican; in her manners and manner of speech she was Victorian; socially was more liberal than not, with developed individualism coupled with democratic values based in pragmatism; thus at the opening of the German occupation of France she favored collaborative Vichy government, but by the end she did not, having witnessed firsthand the hardship it brought to the peasants." Judy Grahn (1989)(pp.140-41)
General Observations about Pinckney2007 Edits
Hello, everyone,
I've been trying to figure out how to best explain my edits in this talk page, and I guess I write to observe that I'm not really editing right now, but I'm filling in some of the gaps in the G.S. biography. I'm plodding through, using primarily James Mellow's biography and Bruce Kellner's companion to G.S. for supports. As to the art collecting, I've relied heavily on a Museum of Modern Art exhibition publication from 1970.
I'm interested in adding some of the Yale photographs to the Wiki open source collection. Specifically the photos of the paintings on the walls at Rue de Fleurus would be a great addition (I've live linked them so far). Advice about how to seek approval for some of these photos would be appreciated. I'm figuring there might be a snafu related to the fact that the interior photos of 27 Rue de Fleurus are full of images that are copyrighted elsewhere.
Pinckney2007 15:09, 18 September 2007 (UTC)Pinckney2007
Here's the section and some of the images in question: http://en.wikipedia.org/wiki/Gertrude_Stein#Cezanne.2C_Matisse.2C_Picasso.2C_and_Others (the section)
http://highway55.library.yale.edu/PHOTONEGIMG/screen/S373/s3737231.jpg
http://highway55.library.yale.edu/PHOTONEGIMG/screen/S373/s3737210.jpg
Pinckney2007 15:12, 18 September 2007 (UTC)Pinckney2007
Man Ray photographs
Of all the pictures of Gertrude Stein, I think the ones by Man Ray are the most incredibly best. Have any of you Stein editors checked on the copyright access/release we would have to obtain to be able to post some of the Man Ray photos? I know some of them are at the Beinecke library. They would add a lot to the flavor of the page, I think. Pinckney2007 23:13, 13 September 2007 (UTC)Pinckney2007
Here are some examples of the Man Ray photographs it would be nice to include on the page:
http://www.acsu.buffalo.edu/~jconte/Images/Ray_Stein.jpg
http://www.acsu.buffalo.edu/~jconte/Images/Stein_Toklas.gif (I think this is from Man Ray, but I'm not certain).
There's a great one of Alice (apparently coming in from the kitchen), while Gertrude writes at the big table, but I can't get a good link, except on the cover of Autobiography of Alice B. Toklas: http://beinecke.library.yale.edu/dl%5Fcrosscollex/photoneg/oneITEM.asp?pid=39002037243442&iid=3724344&srchtype=
Smelly
The following edit, [[1]], appears to be vandalism. Hyacinth 20:48, 18 Oct 2004 (UTC)
- Sure looks like it to me.. She had a husband??? Not in any other bios of her I've read. She was deported by Teddy Roosevelt?? Again, not in other bios. Besides, she was a native-born citizen; how could she be deported? Will look further, but think it should be reverted..
- Very strange case, though. Doesn't look like most vandalism. Too Old 04:30, 2005 May 4 (UTC)
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- Just noted the discrepancy of dates: 1903 - family moved back to Germany; later she moved to US and became politically active; 1903 - she was deported to Germany by Teddy Roosevelt, because of political activism. It gets reverted.. Too Old 04:42, 2005 May 4 (UTC)
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- I would't worry about the dates; the changes were simple vandalism. Her father Daniel was a clothier, not a mill worker. She lived in the US not Germany, she was born in 1874, not 1847, she left the US of her own volition, she didn't marry any man, she wasn't a Nazi, and she didn't keep her rat feces in mason jars. Etc. - Nunh-huh 04:50, 4 May 2005 (UTC)
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stein date of death
The article for July 27 lists Stein as being one of the people that died on that date. The article on Stein lists her date of death as July 29.
Some suggested edits
Hi. This is my first time on Wiki, so please bear with me and correct me if I do anything wrong. I guess I'm picking poor Gertrude for my editorial guinea-pig - hope she won't mind. Hope you won't also. Anyway, just some suggestions mostly about style, fitting enough as Gertrude was above all a stylist.
In 1902 she moved to France during the height of artistic creativity gathering in Montparnasse. From 1903 to 1912 she lived in Paris with her brother Leo, who became an accomplished art critic. Stein, a lesbian, met her life-long companion Alice B. Toklas in 1907; Alice moved in with Leo and Gertrude in 1909. During her whole life, Stein was supported by a stipend from her brother Michael's business.[She lived off a stipend from her father's estate which her brother Michael very capably stewarded and invested. She did not live off her brother Michael's money.]
No problems with the facts, but I feel they could be better presented. (For example, the first sentence reads awkwardly, and the last, leading on to the sentence "She and her brother compiled one of the first collections of Cubist art," implies that Michael, and not Leo, was the art collector). I suggest something like: "Throughout her life, Gertrude was supported by a stipend from her brother Michael[She lived off a stipend from her father's estate which her brother Michael very capably stewarded and invested. She did not live off her brother Michael's money.]. In 1902 she moved to Paris, and from 1903 to 1912 lived at the centre of the Montparnasse art world with another brother, Leo. The pair established an artistic and literary salon, and together they built up one of the first collections of Cubist art, including early works of Pablo Picasso (who became a friend and painted her portrait), Henri Matisse, Andre Derain plus other young painters. A lesbian, in 1907 Gertrude met her life-long companion, Alice B. Toklas, who moved in to the Stein household in 1909." (Incidentally, is it accurate to characterise her collection as being of Cubist art alone? - most of the artists mentioned here were not noted primarily as Cubists. If you agree, the word Cubist could be replaced with 'avant-garde' or something similar).
Extremely charming, eloquent, cheerful and overweight, she had a large circle of friends and tirelessly promoted herself. Her judgments in literature and art were highly influential.
I feel uneasy with the portrayal of GS as a self-promoter. Perhaps she was, but far more important was that she promoted the new artists and writers. Perhaps it could be amended to something like: "Charming, eloquent, cheerful and overweight, she had a large circle of friends from the artisitic and literary worlds and tirelessly promoted those she believed worthy of recognition [Gertrude did not tirelessly promote anyone but herself. She disinterestedly promoted some if opportunity arose, such as Hemingway, and very much promoted some others among friends, such as Picasso ---mostly she listened, lectured, and advised literary young men, but she did not promote them tirelessly.] Her judgements etc etc..".
Ernest Hemingway describes how Alice was Gertrude's 'wife' in that Stein rarely addressed his wife, and he treated Alice the same, leaving the two "wives" to chat. Alice was four foot eleven inches tall, and Gertrude was five foot one inch (Grahn 1989).
This is the second time Alice has been mentioned, so why not move this passage up to join with the first?
Several years later, Alice would contribute money to Faÿ's escape from prison.
Why not use simple past tense: "Several years later, Alice contributed..."?
After the war, Gertrude's status in Paris grew when she was visited by many young American soldiers.
Taken literally, this says that Gertrude's post-war status in Paris (and by inference not elsewhere) rose after the war due to the visits from the young GIs. I don't think this is what you mean to say. If, as I suspect, you mean that her status in the US rose because of the GI visits, then it could be amended to something like: "Gertrude and Alice returned to Paris after the war, where her fame in the US was spread by a steady stream of young GIs calling at the Stein salon."
Ok that's it - just some suggestions. Let me know if this is out of line, ok?
Incidentally, on the Lost Generation, I recall reading how GS first heard this expression from the lips of a garage owner expressing exasperation with a feckless apprentice: "C'est un generation perdu!" GS gave it an entirely new dimension. Unfortunately I can't remember where I read this - I thought it was in Janet Flanner and just checked, but it's not...maybe it was Hemingway...?
Major part of the Stain's biography is merely a bunch of sensless sentences. e.g.: Extremely charming, eloquent, and cheerful, she had a large circle of friends and tirelessly promoted herself. Her judgments in literature and art were highly influential. In the summer of 1931, Stein advised the young composer and writer Paul Bowles to go to Tangier, where she and Alice had vacationed. - how do these three sentences connect to each other in one para? 67.142.130.25 02:08, 21 April 2006 (UTC)
A few more edits
The following italicized words seem like a breach of neutrality to me (Found under "Writings") :
Though Stein influenced authors such as Ernest Hemingway and Richard Wright, as hinted above, her work has often been misunderstood. Composer Constant Lambert (1936) naively compares Stravinsky's choice of, "the drabbest and least significant phrases," in L'Histoire du Soldat to Gertrude Stein's in "Helen Furr and Georgine Skeene" (1922), specifically: "Everday they were gay there, they were regularly gay there everyday," of which he contends that the, "effect would be equally appreciated by someone with no knowledge of English whatsoever," apparently entirely missing the pun frequently employed by Stein. Pilaman, 04 December
Lesbian
While Stein's sexuality is certainly important and worth mentioning, I don't think putting it in the list of descriptions "American writer, poet, feminist, playwright, lesbian" is apropriate. Hemingway isn't described as "American novelist, short story writer, journalist, and heterosexual." For that matter, Alan Ginsberg isn't described as "American beat poet and homosexual." As such, I'm removing it.24.19.157.12 06:44, 29 March 2006 (UTC)
Rearranging
Hey Gertrude fans!
I went ahead and made some changes to the Early Life section before realizing that might come across as a little bit presumptuous of me. My intention was to improve the flow of the first few paragraphs, which included some pretty drastic rewordings. Take a look and see what you think.
Jared Hawkley 04:47, 2 August 2006 (UTC)
We interrupt this meeting of the Gertrude Stein Fan Club to bring you ...
Just for you young pups out there who have very little context by which to judge Ms. Stein's works by, here's a contemporary review I ran across by no less than the redoubtable James Thurber, who had this to say about Stein:
| “ | Anyone who reads at all diversely during these bizarre nineteen twenties cannot escape the conclusion that a number of crazy men and women are writing stuff which remarkably passes for important composition among certain persons who should know better. Mr. Stuart P. Sherman, however, refused to be numbered among those who stand in awe and admiration of one of the most eminent of the idiots, Gertrude Stein. He reviews her Geography and Plays in the Aug. 11 issue of the Literary Review of the New York Evening Post and arrives at the conviction that it is a marvellous and painstaking achievement in setting down approximately 80,000 words which mean nothing at all. | ” |
(From Collecting Himself, Michael Rosen, ed.)
And yes, this is a fairly elliptical way of pointing out why the hell isn't there one word in this article critical of Stein's writing? +ILike2BeAnonymous 07:04, 14 July 2007 (UTC)
- See: Wikipedia:How to edit a page.
- But first you should read the article again (Gertrude Stein#Writings):
- Composer Constant Lambert (1936) naively compares Stravinsky's choice of "the drabbest and least significant phrases" in L'Histoire du Soldat to Gertrude Stein's in "Helen Furr and Georgine Skeene" (1922), specifically: "Everyday they were gay there, they were regularly gay there everyday," of which he contends that the "effect would be equally appreciated by someone with no knowledge of English whatsoever"
- I may be a member of the Gertrude Stein club but I am a strong proponent of criticism being included in Wikipedia articles. See: Wikipedia:Criticism.
- Your criticism of the article does, however, point to a worse gap in the article. There is not enough discussion of Stein's reception. Hyacinth 00:24, 16 August 2007 (UTC)
Categories
Just made some categories for GS - if you make a separate article for a play/opera, poem or book, please remember to drop a category tag at the bottom of it. I'm going to start a stub on Doctor Faustus. Ta, DionysosProteus 23:17, 21 August 2007 (UTC)
Sources
Please return the primary sources, complete with bibliographic details and ISBN numbers, so that they may be referred to. There is a discussion about Stein's drama occurring elsewhere on the site that references them. Thanks DionysosProteus 03:37, 27 August 2007 (UTC)
Sources
This is my first wiki entry so I'm a little bit uncertain about how to proceed.
I added two secondary sources, one of which provides a fuller discussion of the "lost generation" bit that's referred to earlier in this talk section. I edited the article to reflect this information. The source is James R. Mellow, Charmed Circle at 273-74.
I was just looking through the wiki article references to the artists who frequented Stein's salon in the 20's and see Guillaume Apollinaire, who Stein credited in keeping the pre-WWI salon together. During WWI, Apollinaire received a critical head injury the treatment for which affected his health, and he died, of influenza, November 10, 1918, the day before the Armistice was signed. The source is Bruce Kellner, A Gertrude Stein Companion at 144-45.
There were two different salons, really. A pre-WWI salon, and post-WWI salon, with very different primary characters. I can develop this point eventually. I've added in some edits, to reflect that pre-WWI was mostly the famous artists, and post-WWI was mostly the famous writers.
I'd appreciate some guidance about protocol.
Pinckney2007 21:50, 8 September 2007 (UTC)pinckney2007
- If you added information from that source you should cite that source in the body of the article (such as "Author Year published, p.Page#). As such you could move it into the References section. Hyacinth 04:27, 9 September 2007 (UTC)
Pinckney2007 Thank you for the guidance about citing sources in the discussion and about providing an edit summary. I'm still figuring out the software. I'll eventually get back in to provide edit summaries for the text I have added, with citations to the references books I am using. —Preceding unsigned comment added by Pinckney2007 (talk • contribs) 19:48, 9 September 2007 (UTC)
Question
Pinckney2007 I'm curious about the requirements for adding images. A number of artists created images of Gertrude Stein, and those images would add a special perspective to the wiki entry.
For example, this image by Picabia would be interesting, as would several others:
http://beinecke.library.yale.edu/dl%5Fcrosscollex/photoneg/oneITEM.asp?pid=39002037292662&iid=3729266&srchtype= —Preceding unsigned comment added by Pinckney2007 (talk • contribs) 00:03, 10 September 2007 (UTC)
Pinckney2007 Save material from edit
Politically ambiguous, Stein has been described as a conservative; she regarded the jobless as lazy, and opposed Franklin D. Roosevelt and his New Deal. She advocated the Nationalist (Francoist) side during the Spanish Civil War. Judy Grahn (1989), in what is arguably an aggrandizement of Stein, describes her as "a 19th century Republican; in her manners and manner of speech she was Victorian; socially was more liberal than not, with developed individualism coupled with democratic values based in pragmatism; thus at the opening of the German occupation of France she favored collaborative Vichy government, but by the end she did not, having witnessed firsthand the hardship it brought to the peasants." (p.140-141) —Preceding unsigned comment added by Pinckney2007 (talk • contribs) 02:20, 10 September 2007 (UTC)
Overview
I added material to the overview paragraph at the beginning of the GStein entry. In my reading, it's become clear that Stein's relationship with her brother Leo was as intense as her relationship with Alice B. Toklas. Together, Gertrude and Leo built the famous art collection. Much of this collection predated Picasso's move to cubism, so I chose the more neutral term of "modern art" in the overview.
Gertrude Stein (February 3, 1874 – July 27, 1946) was an American writer who was a catalyst in the development of modern art and literature. She spent most of her life in France. Her life was marked by two primary relationships, the first with her brother Leo Stein from 1874-1914, and the second with Alice B. Toklas from 1907 until her death in 1946. Stein shared her salon at 27 rue de Fleurus, Paris, first with Leo and then with Alice. Throughout her lifetime, Stein cultivated significant tertiary relationships with ultimately famous members of the avant garde artistic and literary worlds of her time.
--Pinckney2007 11:38, 12 September 2007 (UTC)Pinckney2007
--Pinckney2007 12:18, 12 September 2007 (UTC)
I'll highlight other sections I have added to, or tweaked, as the case may be, when I free up some time.
On protocol, should a proposed edit appear in discussion, before it is added to the main entry?
Thanks.
Biography Subdivisions
--Pinckney2007 00:47, 13 September 2007 (UTC)Pinkney2007 00:45, 13 September 2007 (UTC)
I provided some additional sub-divisions, to differentiate the periods of Gertrude's life. One thing that I'm not sure about is how to best explain the transfer of primary relationship from Leo Stein to Alice B. Toklas.
At present, the divisions look like this:
- 1 Biography
* 1.1 Early life * 1.2 Paris, 1903-1914 * 1.3 World War I * 1.4 1920s * 1.5 World War II
However, the 1903-1914 period could be further subdivided to the before Alice and the after Alice years, and there are two sets of those, 1) meeting Alice and the years up to-- 2) Alice moving in with Leo and Gertrude, followed by 3) Leo leaving the premises
Pinckney2007 11:29, 13 September 2007 (UTC)Pinckney2007
1.2 Paris, 1903-1914
I added this material, and I think subdivisions for Ambroise Vollard, Matisse, Picasso, Mabel Dodge Luhan, Guillaume Appollinaire, and Mabel Dodge Luhan might be appropriate here:
From 1903 to 1914--she lived in Paris with her brother Leo, who became an art critic. Gertrude and Leo compiled one of the first collections of modern art. They owned early works of Pablo Picasso (who became a friend and painted her portrait, as well as a portrait of her nephew Allan Stein), Henri Matisse, André Derain, Georges Braque, Juan Gris, and other young painters. Before World War I, their salon at 27 Rue de Fleurus attracted these and other artists and members of the avant garde, including the poet, dramatist, critic, journalist Guillaume Apollinaire (Kellner, 1988, pp 144-45). The Gertrude and Leo Stein art collection included many paintings they acquired from the Paris art dealer, Ambroise Vollard. Their brother Michael and sister-in-law Sarah (Sally) amassed a large Henri Matisse collection, and Gertrude's friends from Baltimore, Claribel and Etta Cone collected in a similar vein, eventually donating their collection, virtually intact, to the Baltimore Museum of Art Gertrude and Leo Stein's art collection was reflective of two famous art exhibitions that took place during their residence together at 27 rue de Fleurus, and to which they contributed, either by lending their art, or by patronizing the featured artists. The first, the Paris Autumn Salon of 1905, introduced Fauvism to the Paris art public, to some shock and political cartooning. The second, the Armory Show of 1913, held in New York City, introduced Modern Art to the United States art public, also to some shock and political cartooning. After Gertrude's and Leo's households separated in 1914, she kept most of the Picasso paintings the two had collected and later acquired examples of Picasso's Cubist art. The Leo and Gertrude Stein separation occurred in April, 1914, when Leo moved to Settignano, Italy, near Florence. The separation of their art collection was described in a letter by Leo, in which he stated:
The Cezanne apples have a unique importance to me that nothing can replace. The Picasso landscape is not important in any such sense. We are, as it seems to me on the whole, both so well off now that we needn't repine. The Cezannes had to be divided. I am willing to leave you the Picasso ouvre, as you left me the Renoir, and you can have everything except that. I want to keep the few drawings that I have. This leaves no string for me, it is financially equable either way for estimates are only rough & ready methods, & I'm afraid you'll have to look upon the loss of the apples as an act of God. I have been anxious above all things that each should have in reason all that he wanted, and just as I was glad that Renoir was sufficiently indifferent to you so that you were ready to give them up, so I am glad that Pablo is sufficiently indifferent to me that I am willing to let you have all you want of it.
(Mellow, 1974, at 207-08).
Pinckney2007 11:30, 13 September 2007 (UTC)Pinckney2007
Man Ray photographs
Of all the pictures of Gertrude Stein, I think the ones by Man Ray are the most incredibly best. Have any of you Stein editors checked on the copyright access/release we would have to obtain to be able to post some of the Man Ray photos? I know some of them are at the Beinecke library. They would add a lot to the flavor of the page, I think. Pinckney2007 23:13, 13 September 2007 (UTC)Pinckney2007
Here are some examples of the Man Ray photographs it would be nice to include on the page:
http://www.acsu.buffalo.edu/~jconte/Images/Ray_Stein.jpg
http://www.acsu.buffalo.edu/~jconte/Images/Stein_Toklas.gif (I think this is from Man Ray, but I'm not certain).
There's a great one of Alice (apparently coming in from the kitchen), while Gertrude writes at the big table, but I can't get a good link, except on the cover of Autobiography of Alice B. Toklas: http://beinecke.library.yale.edu/dl%5Fcrosscollex/photoneg/oneITEM.asp?pid=39002037243442&iid=3724344&srchtype=
I've experimented with this material in this format, in my personal page on wiki:
1920s
In the 1920s, her salon at 27 Rue de Fleurus, with walls covered by avant-garde paintings, attracted many of the great writers of the time, including Ernest Hemingway, Ezra Pound, Thornton Wilder, and Sherwood Anderson. While she has been credited with coining the term "Lost Generation" for some of these expatriate American writers, at least three versions of the story that led to the phrase are on record, two by Ernest Hemingway and one by Gertrude Stein (Mellow, 1974, pp. 273-74). During the 20s, she became friends with writer Mina Loy, and the two would remain lifelong friends. Extremely charming, eloquent, and cheerful, she had a large circle of friends and tirelessly promoted herself. Her judgments in literature and art were highly influential. She was Ernest Hemingway's mentor, and upon the birth of his son he asked her to be the godmother of his child. In the summer of 1931, Stein advised the young composer and writer Paul Bowles to go to Tangier, where she and Alice had vacationed.
[add] During this time, Man Ray made several photo images of Gertrude Stein, some with Alice B. Toklas, that get at Gertrude's "bottom nature"
1920, Gertrude at Work on her writing, with the famous Picasso portrait behind her right shoulder
1920 (?) Gertrude in her "throne chair" ... have a hard quote on this point
1926, Jo Davidson at work sculpting Gertrude Stein, in a hunched over Buddha-like pose
There's a great one of Alice (apparently coming in from the kitchen), while Gertrude writes at the big table, but I can't get a good link, except on the cover of Autobiography of Alice B. Toklas: Alice B. Toklas entering Gertrude's work room, with Gertrude at work. Uncertain about the date, and uncertain about Man Ray as the photographer. This image is a window on the power politics in the relationship between Gertrude Stein and Alice B. Toklas
Alice B. Toklas in the background, and Gertrude Stein in the foreground; a window on their relationship. After the hair cut. This one might be by Carl Van Vechten.
update with more questions about Fair Use of Man Ray photographs
I've found the wikipedia informational entry about use of historical photographs under a fair use rationale.
http://en.wikipedia.org/wiki/Wikipedia:Fair_use_rationale_guideline
I've also found the Man Ray Trust page
I'm studying the problem of using these images. They are not in the mainstream of information about Gertrude Stein, and that absence raises some flags for me. I don't know if linking to the archival images works effectively around the problem or raises another one.
Live links to art from the Gertrude/Leo collection
In the 1904-1914 section, I've tried this approach to showing the art without displaying it on the wiki page. I'd appreciate any observations/suggestions about potential problems with this approach.
Here's what I just added:
1904, Patronage at Vollard's Gallery Begins
The joint collection of Gertrude and Leo Stein began in late 1904, when their brother Michael announced that their trust account had accumulated a balance if 8,000 francs, a windfall. (Mellow, 1974, p.62). They spent this windfall at Vollard's Gallery, buying Gaugin's Sunflowers and Three Tahitians, Cezanne's Bathers and two Renoirs. (Ibid.)
1914, Separation of Leo and Gertrude's Art Collection
Thanks! Pinckney2007
added text
1904-1906, Patronage at Vollard's Gallery Begins, and the Steins Grow a Modern Art Gallery
The joint collection of Gertrude and Leo Stein began in late 1904, when their brother Michael announced that their trust account had accumulated a balance if 8,000 francs, a windfall. (Mellow, 1974, p.62). They spent this windfall at Vollard's Gallery, buying Gaugin's Sunflowers and Three Tahitians, Cezanne's Bathers, and two Renoirs. (Ibid.)
The art collection grew, and ceremonially, the walls were rearranged to make way for new acquisitions. (Gertrude seated near new acquisitions (1905))
By early 1906 the studio of Leo and Gertrude Stein at 27 Rue de Fleurus, Paris was covered with paintings by Manguin, Bonnard, Picasso, Cezanne, Renoir, Daumier, Matisse, and Toulouse-Lautrec. (Museum of Modern Art, 1970, pp. 88-89 (images of paintings at 27, Rue de Fleurus)). Among the paintings was a portrait of Madame Cezanne which provided Gertrude with inspiration as she began her career as a writer, and which she credited with her evolving writing style illustrated in her early work, Three Lives:
Gertrude claimed that the stylistic method of [Three Lives] had been influenced by the Cezanne portrait under which she sat writing. The portrait of Madame Cezanne is one of the monumental examples of the artist's method, each exacting, carefully negotiated plane--from the suave reds of the armchair and the gray blues of the sitter's jacket to the vaguely figured wallpaper of the background--having been structured into existence, seeming to fix the subject for all eternity. So it was with Gertrude's repetitive sentences, each one building up, phrase by phrase, the substance of her characters.
(Mellow, 1974, p. 71).
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