Editing Gertrude Stein (section)

==Art collection==
[[File:Matisse-Woman-with-a-Hat.jpg|thumb|left|Gertrude and Leo Stein bought [[Henri Matisse]]'s, ''[[Woman with a Hat]]'', 1905, a portrait of the artist's wife, Amelia, now in the [[San Francisco Museum of Modern Art]]]]

[[File:Leo, Gertrude, Michael Stein.jpg|thumb|Leo, Gertrude, and Michael Stein]]
From 1903 until 1914, when they dissolved their common household, Gertrude and her brother Leo shared living quarters near the [[Luxembourg Gardens]] on the [[Rive Gauche|Left Bank]] of Paris in a two-story apartment (with the adjacent studio) located on the interior courtyard at [[27 rue de Fleurus]], [[6th arrondissement of Paris|6th arrondissement]]. Here they accumulated the works of art that formed a collection that became renowned for its prescience and historical importance.

The gallery space was furnished with imposing [[Renaissance]]-era furniture from [[Florence]], Italy. The paintings lined the walls in tiers trailing many feet to the ceiling. Initially illuminated by gaslight, the artwork was later lit by electric light shortly prior to [[World War I]].<ref name="autogenerated2"/>

Leo Stein cultivated important art world connections, enabling the Stein holdings to grow over time. The art historian and collector [[Bernard Berenson]] hosted Gertrude and Leo in his [[English country house]] in 1902, facilitating their introduction to [[Paul Cézanne]] and the dealer [[Ambroise Vollard]].<ref>[[#Mellow|Mellow (1974)]], pp. 43–52.</ref> Vollard was heavily involved in the Cézanne art market, and he was the first important contact in the Paris art world for both Leo and Gertrude.<ref name="James-1974" />

The joint collection of Gertrude and Leo Stein began in late 1904 when Michael Stein announced that their trust account had accumulated a balance of 8,000 francs. They spent this at [[Ambroise Vollard|Vollard]]'s Gallery, buying [[Paul Gauguin|Gauguin]]'s ''Sunflowers''<ref>{{Citation | last = Gauguin | title = Sunflowers | url = http://www.hermitagemuseum.org/wps/poc?urile=wcm:path%3A%2FKAMIS_EN%2FWorks%2Bof%2BArt%2F01.%2BPaintings%2F28188 | publisher = The Hermitage Museum | format = painting}}</ref> and ''Three Tahitians'',<ref>{{Citation | title = Three Tahitians | url = http://art.nationalgalleries.org/art-and-artists/4942/three-tahitians-1899 | publisher = National Galleries | place = Scotland, UK | last = Gauguin | format = painting}}</ref> Cézanne's ''Bathers'',<ref>{{Citation | last = Cézanne | title = Bathers | url = http://collection.artbma.org/emuseum/start | publisher = Cone Collection | format = painting | series = Baltimore holdings | access-date = February 28, 2017 | archive-date = April 7, 2017 | archive-url = https://web.archive.org/web/20170407144923/http://collection.artbma.org/emuseum/start | url-status = dead }}</ref> and two [[Pierre-Auguste Renoir|Renoirs]].<ref>[[#Mellow|Mellow (1974)]], p. 62.</ref>

[[File:Gertrude Stein sitting on a sofa in her Paris studio - Library of Congress.tif|thumb|Stein in [[27 rue de Fleurus|her Paris studio]], with a [[Portrait of Gertrude Stein|portrait of her]] by Pablo Picasso, and other modern art paintings hanging on the wall (before 1910)]]
The art collection increased and the walls at Rue de Fleurus were rearranged continually to make way for new acquisitions.<ref>[http://130.132.81.65/PATREQIMGX01/size3/D1201/1063829.jpg Gertrude seated near sculpture and Cézanne's ''Bathers'' (1903–04)] {{webarchive|url=http://webarchive.loc.gov/all/20080805084330/http://130.132.81.65/PATREQIMGX01/size3/D1201/1063829.jpg |date=August 5, 2008 }}: The [[Museum of Modern Art|MoMA]] catalog dates photo at 1905 ([[#MOMA|MoMA (1970)]], p. 53) and places ''Bathers'' (1895) in the [http://artbma.org/collection/overview/cone.html Cone Collection] {{webarchive|url=https://web.archive.org/web/20071222011339/http://www.artbma.org/collection/overview/cone.html |date=December 22, 2007 }}, [[Baltimore]]</ref> In "the first half of 1905" the Steins acquired [[Paul Cézanne|Cézanne]]'s ''Portrait of Mme Cézanne'' and [[Eugène Delacroix|Delacroix]]'s ''Perseus and Andromeda''.<ref>[[#MOMA|MoMA (1970)]], p. 26. The Delacroix painting is now in the Cone Collection, Baltimore. (Dorothy Kosinski et al., Matisse: Painter as Sculptor, p. 38 (Yale Univ. Press 2007))</ref> Shortly after the opening of the [[Salon d'Automne]] of 1905 (on October 18, 1905), the Steins acquired Matisse's ''Woman with a Hat''<ref>This painting is now at the San Francisco Museum of Modern Art</ref> and Picasso's ''[[Young Girl with a Flower Basket]]''.<ref>Color plates of ''Young Girl with Basket of Flowers'', or ''Jeune fille aux fleurs'', appear in Hobhouse, 1975, at 68 and Burns, 1970, at 8. The painting is in a private collection but was displayed in a 2003 Matisse/Picasso exhibit.</ref> In 1906, Picasso completed ''[[Portrait of Gertrude Stein]]'', which remained in her collection until her death.<ref>{{Cite web|title=Portrait of Gertrude Stein, 1905 by Pablo Picasso|url=https://www.pablopicasso.org/portrait-of-gertrude-stein.jsp|access-date=March 5, 2023|website=www.pablopicasso.org}}</ref><ref>{{Cite web|title=Gertrude Stein 1905–06|url=https://www.metmuseum.org/art/collection/search/488221|access-date=December 2, 2020|website=MET Museum|date=June 1905 }}</ref>

[[Henry McBride (art critic)|Henry McBride]] (art critic for the ''[[The Sun (New York)|New York Sun]]'') did much for Stein's reputation in the United States, publicizing her art acquisitions and her importance as a cultural figure. Of the art collection at 27 Rue de Fleurus, McBride commented: "[I]n proportion to its size and quality... [it is] just about the most potent of any that I have ever heard of in history."<ref name="Mellow_193">[[#Mellow|Mellow (1974)]], p.&nbsp;193.</ref> McBride also observed that Gertrude "collected geniuses rather than masterpieces. She recognized them a long way off."<ref name="Mellow_193"/>

By early 1906, Leo and Gertrude Stein's studio had many paintings by [[Henri Manguin]], [[Pierre Bonnard]], [[Pablo Picasso]], [[Paul Cézanne]], [[Pierre-Auguste Renoir]], [[Honoré Daumier]], [[Henri Matisse]], and [[Henri de Toulouse-Lautrec]].<ref>Museum of Modern Art, 1970, pp. 88–89 provides detailed black-and-white images of the paintings on the wall.</ref> Their collection was representative of two famous art exhibitions that took place during their residence together in Paris, and to which they contributed, either by lending their art or by patronizing the featured artists.<ref>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, in New York City, introduced Modern Art to the United States art public, accompanied by similar public disparagement.</ref> The Steins' elder brother, Michael, and sister-in-law Sarah (Sally) acquired a large number of Henri Matisse paintings; Gertrude's friends from Baltimore, [[Claribel Cone|Claribel]] and [[Etta Cone]], collected similarly, eventually donating their art collection, virtually intact, to the [[Baltimore Museum of Art]].<ref>{{cite web|url=http://www.artbma.org/collection/overview/cone.html |title=Cone Collection |publisher=Baltimore Museum of Art |date=June 26, 1903 |access-date=December 29, 2011 |url-status=dead |archive-url=https://web.archive.org/web/20141019145733/http://www.artbma.org/collection/overview/cone.html |archive-date=October 19, 2014}}</ref>

While numerous artists visited the Stein salon, many of these artists were not represented among the paintings on the walls at 27 Rue de Fleurus. Where Renoir, Cézanne, Matisse, and Picasso's works dominated Leo and Gertrude's collection, the collection of Michael and [[Sarah Stein]] emphasized Matisse.<ref>[[#MOMA|MoMA (1970)]], p. 28.</ref> In April 1914 Leo relocated to [[Settignano|Settignano, Italy, near Florence]], and the art collection was divided. The division of the Steins' art collection was described in a letter by Leo:

{{blockquote |The Cézanne 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 Cézannes had to be divided. I am willing to leave you the Picasso oeuvre, 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.<ref>[[#Mellow|Mellow (1974)]], pp. 207–8.</ref><ref>An image of "the Cézanne apples" appears in [[#MOMA|MoMA (1970)]], plate 19.</ref>}}

Leo departed with sixteen Renoirs and, relinquishing the Picassos and most of Matisse to his sister, took only a portrait sketch Picasso had done of him. He remained dedicated to Cézanne, nonetheless, leaving all the artist's works with his sister, taking with him only a Cézanne painting of "5 apples".<ref name="autogenerated2"/> The split between brother and sister was acrimonious. Stein did not see Leo Stein again until after [[World War I]], and then through only a brief greeting on the street in Paris. After this accidental encounter, they never saw or spoke to each other again.<ref name="autogenerated2"/> The Steins' holdings were dispersed eventually by various methods and for various reasons.<ref>{{cite web |url=https://www.nytimes.com/books/98/05/03/specials/stein-family.html |title=The Family Knew What It Liked |website=The New York Times |date=December 13, 1970 |last=Glueck |first=Grace |access-date=March 30, 2021}}</ref>

After her and Leo's households separated in 1914, Stein continued to collect examples of Picasso's art, which had turned to [[Cubism]], a style Leo did not appreciate. At her death, Gertrude's remaining collection emphasized the artwork of Picasso and [[Juan Gris]], most of her other pictures having been sold.<ref name="MoMA">[[#MOMA|MoMA (1970)]]</ref>

Gertrude Stein's personality has dominated the provenance of the Stein art legacy. It was, however, her brother Leo who was the astute art appraiser. Alfred Barr Jr., the founding director of New York's [[Museum of Modern Art]], said that between the years of 1905 and 1907, "[Leo] was possibly the most discerning connoisseur and collector of 20th-century painting in the world."<ref>{{cite book |title=Favored Strangers: Gertrude Stein and Her Family |author=Linda Wagner-Martin |page=67 |location=New Brunswick, N.J. |publisher=Rutgers University Press |year=1995 |url=https://books.google.com/books?id=g2uyupUrgNkC&pg=PA67 |isbn=978-0-8135-2474-0 }}</ref> After the artworks were divided between the two Stein siblings, it was Gertrude who moved on to champion the works of what proved to be lesser talents in the 1930s. She concentrated on the work of [[Juan Gris]], [[André Masson]], and Sir [[Francis Cyril Rose|Francis Rose]]. In 1932, Stein asserted: "Painting now after its great period has come back to be a minor art."<ref name="autogenerated2"/>

In 1945, in a preface for the first exhibition of Spanish painter [[Francisco Riba Rovira]] (who painted a portrait of her), Stein wrote:<blockquote>I explained that for me, all modern painting is based on what Cézanne nearly made, instead of basing itself on what he almost managed to make. When he could not make a thing, he hijacked it and left it. He insisted on showing his incapacity: he spread his lack of success: showing what he could not do, became an obsession for him. People influenced by him were also obsessed with the things which they could not reach and they began the system of camouflage. It was natural to do so, even inevitable: that soon became an art, in peace and war, and Matisse concealed and insisted at the same time that Cézanne could not realize, and Picasso concealed, played, and tormented all these things.

The only one who wanted to insist on this problem was Juan Gris. He persisted by deepening the things which Cézanne wanted to do, but it was too hard a task for him: it killed him. And now here we are, I find a young painter who does not follow the tendency to play with what Cézanne could not do, but who attacks any right the things which he tried to make, to create the objects which have to exist, for, and in themselves, and not in relation.<ref>Gertrude Stein. "A la recherche d'un jeune peintre", revue ''Fontaine'' no. 42, pp. 287–288, 1945</ref><ref>Gertrude Stein. "Looking for a young painter" (Riba-Rovira) Yale University U.S.A.</ref></blockquote>