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Gertrude Stein

February 16, 2024

Gertrude Stein (February 3, 1874 – July 27, 1946) was an American novelist, poet, playwright, and art collector. Born in Allegheny, Pennsylvania (now part of Pittsburgh), and raised in Oakland, California,[1] Stein moved to Paris in 1903, and made France her home for the remainder of her life. She hosted a Paris salon, where the leading figures of modernism in literature and art, such as Pablo Picasso, Ernest Hemingway, F. Scott Fitzgerald, Sinclair Lewis, Ezra Pound, Sherwood Anderson and Henri Matisse, would meet.[2][3][4]

Gertrude Stein
Portrait by Carl Van Vechten, 1935
Born(1874-02-03)February 3, 1874
Allegheny, Pennsylvania, U.S.
DiedJuly 27, 1946(1946-07-27) (aged 72)
Neuilly-sur-Seine, France
Resting placePère Lachaise Cemetery
Occupation
  • Writer
  • poet
  • novelist
  • playwright
  • art collector
EducationHarvard University (BA)
Johns Hopkins University
Literary movementModernist literature
PartnerAlice Toklas
Signature

In 1933, Stein published a quasi-memoir of her Paris years, The Autobiography of Alice B. Toklas, written in the voice of Alice B. Toklas, her life partner. The book became a literary bestseller and vaulted Stein from the relative obscurity of the cult-literature scene into the limelight of mainstream attention.[5] Two quotes from her works have become widely known: "Rose is a rose is a rose is a rose",[6] and "there is no there there", with the latter often taken to be a reference to her childhood home of Oakland.[7]

Her books include Q.E.D. (1903), about a lesbian romantic affair involving several of Stein's friends; Fernhurst, a fictional story about a love triangle; Three Lives (1905–06); The Making of Americans (1902–1911); and Tender Buttons (1914).

Her activities during World War II have been the subject of analysis and commentary. As a Jew living in Nazi-occupied France, Stein may have only been able to sustain her lifestyle as an art collector, and indeed to ensure her physical safety, through the protection of the powerful Vichy government official and Nazi collaborator Bernard Faÿ. After the war ended, Stein expressed admiration for another Nazi collaborator, Vichy leader Marshal Pétain.[8][9]

Early life edit

 
Stein's birthplace and childhood home in Allegheny West[10]

Stein, the youngest of a family of five children, was born on February 3, 1874, in Allegheny, Pennsylvania (which merged with Pittsburgh in 1907), to upper-middle-class Jewish parents, Daniel Stein and Amelia Stein, née Keyser.[11][12] Her father was a wealthy businessman with real estate holdings. German and English were spoken in their home.[13] Gertrude's siblings were: Michael (1865), Simon (1868), Bertha (1870), and Leo (1872).[14]

 
Stein at three years of age

When Stein was three years old, she and her family moved to Vienna, and then Paris. Accompanied by governesses and tutors, the Steins endeavored to imbue their children with the cultured sensibilities of European history and life.[15] After a year-long sojourn abroad, they returned to America in 1878, settling in Oakland, California, where her father became director of San Francisco's streetcar lines, the Market Street Railway.[16] Stein attended First Hebrew Congregation of Oakland's Sabbath school.[17] During their residence in Oakland, they lived for four years on a ten-acre lot, and Stein built many memories of California there.[18] She would often go on excursions with her brother, Leo, with whom she developed a close relationship. Stein found formal schooling in Oakland unstimulating,[19] but she often read Shakespeare, Wordsworth, Scott, Burns, Smollett, Fielding, and more.[12]

When Stein was 14 years old, her mother died. Three years later, her father died as well. Stein's eldest brother, Michael Stein, age 26,[14] then took over the family business holdings, moved his four siblings to San Francisco,[20] where he now was a director of the Market Street Cable Railway Company, and in 1892 arranged for Gertrude and another sister, Bertha, to live with their mother's family in Baltimore.[21] Here she lived with her uncle David Bachrach,[22] who in 1877 had married Gertrude's maternal aunt, Fanny Keyser.

In Baltimore, Stein met Claribel and Etta Cone, who held Saturday evening salons that she would later emulate in Paris. The Cones shared an appreciation for art and conversation about it and modeled a domestic division of labor that Stein would replicate in her relationship with Alice B. Toklas.[2][23]

Education edit

Radcliffe edit

Stein attended Radcliffe College,[15] then an annex of Harvard University, from 1893 to 1897 and was a student of psychologist William James.[24] With James's supervision, Stein and another student, Leon Mendez Solomons, performed experiments on normal motor automatism, a phenomenon hypothesized to occur in people when their attention is divided between two simultaneous intelligent activities such as writing and speaking.

These experiments yielded examples of writing that appeared to represent "stream of consciousness", a psychological theory often attributed to James and the style of modernist authors Virginia Woolf and James Joyce. In 1934, behavioral psychologist B. F. Skinner interpreted Stein's difficult poem Tender Buttons as an example of normal motor automatism.[25] In a letter Stein wrote during the 1930s, she explained that she never accepted the theory of automatic writing: "[T]here can be automatic movements, but not automatic writing. Writing for the normal person is too complicated an activity to be indulged in automatically."[26] She did publish an article in a psychological journal on "spontaneous automatic writing" while at Radcliffe, but "the unconscious and the intuition (even when James himself wrote about them) never concerned her".[12]

At Radcliffe, she began a lifelong friendship with Mabel Foote Weeks, whose correspondence traces much of the progression of Stein's life. In 1897, Stein spent the summer in Woods Hole, Massachusetts, studying embryology at the Marine Biological Laboratory.[27] She received her A.B. (Bachelor of Arts) magna cum laude from Radcliffe in 1898.[12]

Johns Hopkins School of Medicine edit

William James, who had become a committed mentor to Stein at Radcliffe, recognizing her intellectual potential, and declaring her his "most brilliant woman student", encouraged Stein to enroll in medical school. Although Stein professed no interest in either the theory or practice of medicine, she enrolled at Johns Hopkins School of Medicine in 1897. In her fourth year, Stein failed an important course, lost interest, and left.[12] Ultimately, medical school had bored her, and she had spent many of her evenings not applying herself to her studies, but taking long walks and attending the opera.[15][28]

Stein's tenure at Johns Hopkins was marked by challenges and stress. Men dominated the medical field, and the inclusion of women in the profession was not unreservedly or unanimously welcomed. Writing of this period in her life (in Things As They Are, 1903) Stein often revealed herself as a depressed young woman dealing with a paternalistic culture, struggling to find her own identity, which she realized could not conform to the conventional female role. Her uncorseted physical appearance and eccentric mode of dress aroused comment and she was described as "Big and floppy and sandaled and not caring a damn."[20][29] According to Linda Wagner-Martin, Stein's "controversial stance on women's medicine caused problems with the male faculty" and contributed to her decision to leave without finishing her degree.[11]

Asked to give a lecture to a group of Baltimore women in 1899, Stein gave a controversial speech titled "The Value of College Education for Women", undoubtedly designed to provoke the largely middle-class audience. In the lecture Stein maintained:

average middle class woman [supported by] some male relative, a husband or father or brother,...[is] not worth her keep economically considered. [This economic dependence caused her to become] oversexed...adapting herself to the abnormal sex desire of the male...and becoming a creature that should have been first a human being and then a woman into one that is a woman first and always.

— [29]

While a student at Johns Hopkins and purportedly still naïve about sexual matters, Stein experienced an awakening of her latent sexuality. Sometime in 1899 or 1900, she became infatuated with Mary Bookstaver who was involved in a relationship with a medical student, Mabel Haynes. Witnessing the relationship between the two women served for Stein as her "erotic awakening". The unhappy love triangle demoralized Stein, arguably contributing to her decision to abandon her medical studies.[29] In 1902, Stein's brother Leo Stein left for London, and Stein followed. The following year the two relocated to Paris, where Leo hoped to pursue an art career.[28]

Art collection edit

 
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
 
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 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. 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.[16]

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.[30] 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.[12]

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 Vollard's Gallery, buying Gauguin's Sunflowers[31] and Three Tahitians,[32] Cézanne's Bathers,[33] and two Renoirs.[34]

 
Stein in her Paris studio, with a 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.[35] In "the first half of 1905" the Steins acquired Cézanne's Portrait of Mme Cézanne and Delacroix's Perseus and Andromeda.[36] Shortly after the opening of the Salon d'Automne of 1905 (on October 18, 1905), the Steins acquired Matisse's Woman with a Hat[37] and Picasso's Young Girl with a Flower Basket.[38] In 1906, Picasso completed Portrait of Gertrude Stein, which remained in her collection until her death.[39][40]

Henry McBride (art critic for the 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."[41] McBride also observed that Gertrude "collected geniuses rather than masterpieces. She recognized them a long way off."[41]

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.[42] 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.[43] 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 and Etta Cone, collected similarly, eventually donating their art collection, virtually intact, to the Baltimore Museum of Art.[44]

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.[45] In April 1914 Leo relocated to Settignano, Italy, near Florence, and the art collection was divided. The division of the Steins' art collection was described in a letter by Leo:

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.[46][47]

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".[16] 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.[16] The Steins' holdings were dispersed eventually by various methods and for various reasons.[48]

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.[49]

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."[50] 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 Rose. In 1932, Stein asserted: "Painting now after its great period has come back to be a minor art."[16]

In 1945, in a preface for the first exhibition of Spanish painter Francisco Riba Rovira (who painted a portrait of her), Stein wrote:

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.[51][52]

27 rue de Fleurus: The Stein salon edit

 
Plaque at 27 rue de Fleurus

The gatherings in the Stein home "brought together confluences of talent and thinking that would help define modernism in literature and art". Dedicated attendees included Pablo Picasso, Ernest Hemingway, F. Scott Fitzgerald, Sinclair Lewis, Ezra Pound, Gavin Williamson, Thornton Wilder, Sherwood Anderson, Francis Cyril Rose, Bob Brown, René Crevel, Élisabeth de Gramont, Francis Picabia, Claribel Cone, Mildred Aldrich, Jane Peterson, Carl Van Vechten, Henri Matisse and Georges Braque.[4] Saturday evenings had been set as the fixed day and time for formal congregation so Stein could work at her writing uninterrupted by impromptu visitors.

It was Stein's partner Alice who became the de facto hostess for the wives and girlfriends of the artists in attendance, who met in a separate room. From "Alice Entertained the Wives" (New York Times, 1977): " 'I am a person acted upon, not a person who acts,' Alice told one of Gertrude's biographers (...) When guests showed up, Alice was called upon to entertain their wives. The ladies were, of course, 'second‐class citizens' "[53]

Gertrude attributed the beginnings of the Saturday evening salons to Matisse, as people began visiting to see his paintings and those of Cézanne: "Matisse brought people, everybody brought somebody, and they came at any time and it began to be a nuisance, and it was in this way that Saturday evenings began."[54]

Among Picasso's acquaintances who frequented the Saturday evenings were: Fernande Olivier (Picasso's mistress), Georges Braque (artist), André Derain (artist), Max Jacob (poet), Guillaume Apollinaire (poet), Marie Laurencin (artist, and Apollinaire's mistress), Henri Rousseau (painter), and Joseph Stella.[55]

Hemingway frequented Stein's salon, but the two had an uneven relationship. They began as close friends, with Hemingway admiring Stein as a mentor, but they later grew apart, especially after Stein called Hemingway "yellow" in The Autobiography of Alice B. Toklas.[12] Upon the birth of his son, Hemingway asked Stein to be the godmother of his child.[56] While Stein has been credited with inventing the term "Lost Generation" for those whose defining moment in time and coming of age had been World War I and its aftermath, there are at least three versions of the story that led to the phrase, two by Hemingway and one by Stein.[57]

During the summer of 1931, Stein advised the young composer and writer Paul Bowles to go to Tangier, where she and Alice had vacationed.

In 1938, Stein and Toklas moved from the rue de Fleurus to 5 rue Christine in the 6th arrondissement. For much of the war they sheltered in a house they had rented for several years in the hamlet of Bilignin in the commune of Belley (Ain), which was initially outside the area of direct German occupation in the Zone libre.

Literary style edit

 
Carl Van Vechten, Portrait of Gertrude Stein, 1934

Stein's writing can be placed in three categories: "hermetic" works best illustrated by The Making of Americans: The Hersland Family; popularized writing such as The Autobiography of Alice B. Toklas; and speech writing and more accessible autobiographical writing of later years, of which Brewsie and Willie is a good example. Her works include novels, plays, stories, libretti, and poems written in a highly idiosyncratic, playful, repetitive, and humorous style. Typical quotes are: "Rose is a rose is a rose is a rose"; "Out of kindness comes redness and out of rudeness comes rapid same question, out of an eye comes research, out of selection comes painful cattle";[58] about her childhood home in Oakland, "There is no there there"; and "The change of color is likely and a difference a very little difference is prepared. Sugar is not a vegetable."[59]

A reader wrote to Stein in 1933 asking her to explain the rose quotation received a reply from Toklas as her secretary: "The device rose is a rose is a rose is a rose means just that. Miss Stein is unfortunately too busy herself to be able to tell you herself, but trusts that you will eventually come to understand that each and every word that she writes means exactly what she says, for she says very exactly what she means, and really nothing more, but, of course, nothing less."[60]

These stream-of-consciousness experiments, rhythmical essays or "portraits", were designed to evoke "the excitingness of pure being" and can be seen as literature's answer to visual art styles and forms such as Cubism, plasticity, and collage. Many of the experimental works such as Tender Buttons have since been interpreted by critics as a feminist reworking of patriarchal language. These works were well received by avant-garde critics but did not initially achieve mainstream success. Despite Stein's work on "automatic writing" with William James, she did not see her work as automatic, but as an 'excess of consciousness'.[61]

Though Stein collected cubist paintings, especially those of Picasso, the largest visual arts influence on her literary work is that of Cézanne. Particularly, he influenced her idea of equality, distinguished from universality: "the whole field of the canvas is important".[62] Rather than a figure/ground relationship, "Stein in her work with words used the entire text as a field in which every element mattered as much as any other." It is a subjective relationship that includes multiple viewpoints. Stein explained: "[T]he important thing... is that you must have deep down as the deepest thing in you a sense of equality."[63]

Her use of repetition is ascribed to her search for descriptions of the "bottom nature" of her characters, such as in The Making of Americans where the narrator is described through the repetition of narrative phrases such as "As I was saying" and "There will be now a history of her." Stein used many Anglo-Saxon words and avoided words with "too much association". Social judgment is absent in her writing, so the reader is given the power to decide how to think and feel about the writing. Anxiety, fear, and anger are also absent, and her work is harmonic and integrative.[citation needed] Stein's work was included in the second issue of 0 to 9 magazine, a journal which explored language and meaning-making during the 1960s avant garde movement.

Stein predominantly used the present progressive tense, creating a continuous presence in her work, which Grahn argues is a consequence of the previous principles, especially commonality and centeredness. Grahn describes "play" as the granting of autonomy and agency to the readers or audience: "rather than the emotional manipulation that is a characteristic of linear writing, Stein uses play."[64] In addition, Stein's work is funny, and multilayered, allowing a variety of interpretations and engagements. Lastly, Grahn argues that one must "insterstand... engage with the work, to mix with it in an active engagement, rather than 'figuring it out.' Figure it in."[65] In 1932, using an accessible style to appeal to a wider audience, she wrote The Autobiography of Alice B. Toklas; the book would become her first best-seller. Despite the title, it was actually Stein's autobiography. The style was quite similar to that of The Alice B. Toklas Cookbook, which was written by Toklas. Many critics speculated that Toklas actually had written The Autobiography of Alice B. Toklas, despite Toklas repeatedly denying authorship.[66]

Several of Stein's writings have been set to music by composers, including Virgil Thomson's operas Four Saints in Three Acts and The Mother of Us All, and James Tenney's setting of Rose is a rose is a rose is a rose as a canon dedicated to Philip Corner, beginning with "a" on an upbeat and continuing so that each repetition shuffles the words, e.g. "a/rose is a rose/is a rose is/a rose is a/rose."[67]

Literary career edit

 
Pablo Picasso, Portrait of Gertrude Stein, 1906, Metropolitan Museum of Art, New York. When someone commented that Stein didn't look like her portrait, Picasso replied, "She will."[68] Stein wrote "If I Told Him: A Completed Portrait of Picasso" (1923) in response to the painting.
 
Félix Vallotton, Portrait of Gertrude Stein, 1907

While living in Paris, Stein began submitting her writing for publication. Her earliest writings were mainly retellings of her college experiences. Her first critically acclaimed publication was Three Lives. In 1911, Mildred Aldrich introduced Stein to Mabel Dodge Luhan and they began a short-lived but fruitful friendship during which the wealthy Mabel Dodge promoted Gertrude's legend in the United States.

Mabel was enthusiastic about Stein's sprawling publication The Makings of Americans and, at a time when Stein had much difficulty selling her writing to publishers, privately published 300 copies of Portrait of Mabel Dodge at Villa Curonia.[49] Dodge was also involved in the publicity and planning of the 69th Regiment Armory Show in 1913, "the first avant-garde art exhibition in America".[49]

In addition, she wrote the first critical analysis of Stein's writing to appear in America, in "Speculations, or Post-Impressionists in Prose", published in a special March 1913 publication of Arts and Decoration.[69] Foreshadowing Stein's later critical reception, Dodge wrote in "Speculations":

In Gertrude Stein's writing every word lives and, apart from concept, it is so exquisitely rhythmical and cadenced that if we read it aloud and receive it as pure sound, it is like a kind of sensuous music. Just as one may stop, for once, in a way, before a canvas of Picasso, and, letting one's reason sleep for an instant, may exclaim: "It is a fine pattern!" so, listening to Gertrude Stein's words and forgetting to try to understand what they mean, one submits to their gradual charm.[69]

Stein and Carl Van Vechten, the noted critic and photographer, became acquainted in Paris in 1913. The two became lifelong friends, devising pet names for each other: Van Vechten was "Papa Woojums", and Stein, "Baby Woojums". Van Vechten served as an enthusiastic champion of Stein's literary work in the United States, in effect becoming her American agent.[4]

America (1934–1935) edit

In October 1934, Stein arrived in America after a 30-year absence. Disembarking from the ocean liner in New York, she encountered a throng of reporters. Front-page articles on Stein appeared in almost every New York City newspaper. As she rode through Manhattan to her hotel, she was able to get a sense of the publicity that would hallmark her US tour. An electric sign in Times Square announced to all that "Gertrude Stein Has Arrived."[70] Her six-month tour of the country encompassed 191 days of travel, criss-crossing 23 states and visiting 37 cities. Among other sites, Stein visited Civil War battlefields, toured Chicago with homicide detectives, saw a football game in New Haven, dined in New Orleans, visited Scott Fitzergald and Zelda Sayer in Baltimore, and returned to her childhood home in Oakland.[71]

Stein's tour was partly to give public lectures, and she prepared each individually; the audiences were limited to five hundred attendees. She spoke, reading from notes, and provided for an audience question and answer period at the end of her presentation.[70]

Stein's effectiveness as a lecture speaker received varying evaluations. At the time, some maintained that "Stein's audiences by and large did not understand her lectures." Some of those in the psychiatric community weighed in, judging that Stein suffered from a speech disorder, palilalia, which caused her "to stutter over words and phrases". The predominant feeling, however, was that Stein was a compelling presence, a fascinating personality who could hold listeners with the "musicality of her language".[70]

In Washington, D.C. Stein was invited to have tea with the President's wife, Eleanor Roosevelt. In Beverly Hills, California, she visited actor and filmmaker Charlie Chaplin, who reportedly discussed the future of cinema with her.[70] Stein left America in May 1935, a newly minted American celebrity with a commitment from Random House, who had agreed to become the American publisher for all of her future works.[70][72] The Chicago Daily Tribune wrote after Stein's return to Paris: "No writer in years has been so widely discussed, so much caricatured, so passionately championed."[70]

Books edit

Q.E.D. edit

Stein completed Q.E.D., her first novel, on October 24, 1903.[73] One of the earliest coming out stories,[74] it is about a romantic affair involving Stein and her friends Mabel Haynes, Grace Lounsbury and Mary Bookstaver, and occurred between 1897 and 1901 while she was studying at Johns Hopkins in Baltimore.[75]

Fernhurst (1904) edit

In 1904, Stein began Fernhurst, a fictional account of a scandalous three-person romantic affair involving a dean (M. Carey Thomas), a faculty member from Bryn Mawr College (Mary Gwinn) and a Harvard graduate (Alfred Hodder).[76] Mellow asserts that Fernhurst "is a decidedly minor and awkward piece of writing".[77] It includes some commentary that Gertrude mentioned in her autobiography when she discussed the "fateful twenty-ninth year"[77] during which:

All the forces that have been engaged through the years of childhood, adolescence and youth in confused and ferocious combat range themselves in ordered ranks (and during which) the straight and narrow gateway of maturity, and life which was all uproar and confusion narrows down to form and purpose, and we exchange a great dim possibility for a small hard reality. Also in our American life where there is no coercion in custom and it is our right to change our vocation so often as we have desire and opportunity, it is a common experience that our youth extends through the whole first twenty-nine years of our life and it is not till we reach thirty that we find at last that vocation for which we feel ourselves fit and to which we willingly devote continued labor.[78]

Mellow observes that, in 1904, 30-year-old Gertrude "had evidently determined that the 'small hard reality' of her life would be writing".[79]

Three Lives (1905–1906) edit

Stein attributed the inception of Three Lives to the inspiration she received from a portrait Cézanne had painted of his wife and which was in the Stein collection. She credited this as a revelatory moment in the evolution of her writing style. Stein described:

that the stylistic method of (Three Lives) had been influenced by the Cézanne portrait under which she sat writing. The portrait of Madame Cézanne 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.[80]

She began Three Lives during the spring of 1905 and finished it the following year.[81]

The Making of Americans (1902–1911) edit

Gertrude Stein stated the date for her writing of The Making of Americans was 1906–1908. Her biographer has uncovered evidence that it actually began in 1902 and did not end until 1911.[82] Stein compared her work to James Joyce's Ulysses and to Marcel Proust's In Search of Lost Time. Her critics were less enthusiastic about it.[83] Stein wrote the bulk of the novel between 1903 and 1911, and evidence from her manuscripts suggests three major periods of revision during that time.[84] The manuscript remained mostly hidden from public view until 1924 when, at the urging of Ernest Hemingway, Ford Madox Ford agreed to publish excerpts in the transatlantic review.[85] In 1925, the Paris-based Contact Press published a limited run of the novel consisting of 500 copies. A much-abridged edition was published by Harcourt Brace in 1934, but the full version remained out of print until Something Else Press republished it in 1966. In 1995, a new, definitive edition was published by Dalkey Archive Press with a foreword by William Gass.[86]

Gertrude's Matisse and Picasso descriptive essays appeared in Alfred Stieglitz's August 1912 edition of Camera Work, a special edition devoted to Picasso and Matisse, and represented her first publication.[87] Of this publication, Gertrude said, "[h]e was the first one that ever printed anything that I had done. And you can imagine what that meant to me or to any one."[87]

Word Portraits (1908–1913) edit

Stein's descriptive essays apparently began with her essay of Alice B. Toklas, "a little prose vignette, a kind of happy inspiration that had detached itself from the torrential prose of The Making of Americans".[88] Stein's early efforts at word portraits are catalogued by Mellow[21] and under individual's names in Kellner, 1988. Matisse and Picasso were subjects of early essays,[89] later collected and published in Geography and Plays and Portraits and Prayers.[90][91]

Her subjects included several ultimately famous personages, and her subjects provided a description of what she observed in her Saturday salons at 27 Rue de Fleurus: "Ada" (Alice B. Toklas), "Two Women" (The Cone sisters, Claribel Cone and Etta Cone), Miss Furr and Miss Skeene (Ethel Mars and Maud Hunt Squire), "Men" (Hutchins Hapgood, Peter David Edstrom, Maurice Sterne), "Matisse" (1909, Henri Matisse), "Picasso" (1909, Pablo Picasso), "Portrait of Mabel Dodge at the Villa Curonia" (1911, Mabel Dodge Luhan), and "Guillaume Apollinaire" (1913).

Tender Buttons (1912) edit

Tender Buttons is the best known of Stein's "hermetic" works. It is a small book separated into three sections—"Food", "Objects" and "Rooms", each containing prose under subtitles.[92] Its publication in 1914 caused a great dispute between Mabel Dodge Luhan and Stein, because Mabel had been working to have it published by another publisher.[93] Mabel wrote at length about what she viewed as the bad choice of publishing it with the press Gertrude selected.[93] Evans wrote Gertrude:

Claire Marie Press... is absolutely third rate, & in bad odor here, being called for the most part 'decadent" and Broadwayish and that sort of thing... I think it would be a pity to publish with [Claire Marie Press] if it will emphasize the idea in the opinion of the public, that there is something degenerate & effete & decadent about the whole of the cubist movement which they all connect you with, because, hang it all, as long as they don't understand a thing they think all sorts of things. My feeling in this is quite strong.[93]

Stein ignored Mabel's exhortations and published 1,000 copies of the book in 1914. An antiquarian copy was valued at over $1,200 in 2007.[citation needed] It is currently in print, and was re-released as Tender Buttons: The Corrected Centennial Edition by City Lights Publishers in March 2014.

In an interview with Robert Bartlett Haas in "A Transatlantic Interview – 1946", Stein insisted that this work was completely "realistic" in the tradition of Gustave Flaubert, stating the following: "I used to take objects on a table, like a tumbler or any kind of object and try to get the picture of it clear and separate in my mind and create a word relationship between the word and the things seen." Commentators have indicated that what she meant was that the reference of objects remained central to her work, although the representation of them had not.[94] Scholar Marjorie Perloff had said of Stein that "[u]nlike her contemporaries (Eliot, Pound, Moore), she does not give us an image, however fractured, of a carafe on a table; rather, she forces us to reconsider how language actually constructs the world we know."[94]

The Autobiography of Alice B. Toklas (1933) edit

The publication of The Autobiography of Alice B. Toklas lifted Gertrude Stein from literary obscurity to almost immediate celebrity in the United States.[95] Although popular with the American public, Stein received considerable backlash from individuals portrayed in her book. Eugene Jolas, editor of the avant-garde journal Transition, published a pamphlet titled Testimony against Gertrude Stein in which artists such as Henri Matisse and Georges Braque expressed their objections to Stein's portrayal of the Parisian community of artists and intellectuals.[96] Braque, in his response, criticized, "she had entirely misunderstood cubism which she sees simply in terms of personalities".[97][98]

Four in America (1947) edit

Published posthumously by Yale University Press in 1947, with an introduction by Thornton Wilder, Four in America creates alternative biographies of Ulysses S. Grant as a religious leader, Wilbur Wright as a painter, George Washington as a novelist, and Henry James as a military general.[99]

Alice B. Toklas edit

 
Alice B. Toklas and Gertrude Stein (1922) by Man Ray

Stein met her life partner Alice B. Toklas[100] on September 8, 1907, on Toklas's first day in Paris, at Sarah and Michael Stein's apartment.[101] On meeting Stein, Toklas wrote:

She was a golden brown presence, burned by the Tuscan sun and with a golden glint in her warm brown hair. She was dressed in a warm brown corduroy suit. She wore a large round coral brooch and when she talked, very little, or laughed, a good deal, I thought her voice came from this brooch. It was unlike anyone else's voice—deep, full, velvety, like a great contralto's, like two voices.[102][103]

Soon thereafter, Stein introduced Toklas to Pablo Picasso at his Bateau-Lavoir studio, where he was at work on Les Demoiselles d'Avignon.

In 1908, they summered in Fiesole, Italy, Toklas staying with Harriet Lane Levy, the companion of her trip from the United States, and her housemate until Alice moved in with Stein and Leo in 1910. That summer, Stein stayed with Michael and Sarah Stein, their son Allan, and Leo in a nearby villa. Gertrude and Alice's summer of 1908 is memorialized in images of the two of them in Venice, at the piazza in front of Saint Mark's.[83]

Toklas arrived in 1907 with Harriet Levy, with Toklas maintaining living arrangements with Levy until she moved to 27 Rue de Fleurus in 1910. In an essay written at the time, Stein humorously discussed the complex efforts, involving much letter-writing and Victorian niceties, to extricate Levy from Toklas's living arrangements.[104] In "Harriet", Stein considers Levy's nonexistent plans for the summer, following her nonexistent plans for the winter:

She said she did not have any plans for the summer. No one was interested in this thing in whether she had any plans for the summer. That is not the complete history of this thing, some were interested in this thing in her not having any plans for the summer... Some who were not interested in her not having made plans for the summer were interested in her not having made plans for the following winter. She had not made plans for the summer and she had not made plans for the following winter... There was then coming to be the end of the summer and she was then not answering anything when any one asked her what were her plans for the winter.[105]

During the early summer of 1914, Stein bought three paintings by Juan Gris: Roses, Glass and Bottle, and Book and Glasses. Soon after she purchased them from Daniel-Henry Kahnweiler's gallery,[106] the Great War began, Kahnweiler's stock was confiscated and he was not allowed to return to Paris. Gris, who before the war had entered a binding contract with Kahnweiler for his output, was left without income. Stein attempted to enter an ancillary arrangement in which she would forward Gris living expenses in exchange for future pictures. Stein and Toklas had plans to visit England to sign a contract for the publication of Three Lives, to spend a few weeks there, and then journey to Spain. They left Paris on July 6, 1914, and returned on October 17.[107] When Britain declared war on Germany, Stein and Toklas were visiting Alfred North Whitehead in England. After a supposed three-week trip to England that stretched to three months due to the War, they returned to France, where they spent the first winter of the war.

With money acquired from the sale of Stein's last Matisse Woman with a Hat[108] to her brother Michael, she and Toklas vacationed in Spain from May 1915 through the spring of 1916.[109] During their interlude in Majorca, Spain, Gertrude continued her correspondence with Mildred Aldrich who kept her apprised of the War's progression, and eventually inspired Gertrude and Alice to return to France to join the war effort.[110]

Toklas and Stein returned to Paris in June 1916, and acquired a Ford automobile with the help of associates in the United States; Gertrude learned to drive it with the help of her friend William Edwards Cook.[111] Gertrude and Alice then volunteered to drive supplies to French hospitals, in the Ford they named Auntie, "after Gertrude's aunt Pauline, 'who always behaved admirably in emergencies and behaved fairly well most times if she was flattered.'"

 
Stein with Ernest Hemingway's son, Jack Hemingway, in 1924. Stein is credited with bringing the term "Lost Generation" into use.

During the 1930s, Stein and Toklas became famous with the 1933 mass-market publication of The Autobiography of Alice B. Toklas. She and Alice had an extended lecture tour in the United States during this decade. They also spent several summers in the town of Bilignin, in the Ain district of eastern France situated in the picturesque region of the Rhône-Alpes. The two women doted on their beloved poodle named "Basket" whose successor, "Basket II", comforted Alice in the years after Gertrude's death.

With the outbreak of World War II, Stein and Toklas relocated to a country home that they had rented for many years previously in Bilignin, Ain, in the Rhône-Alpes region. Stein and Alice, who were both Jewish, escaped persecution probably because of their friendship to Bernard Faÿ who was a collaborator with the Vichy regime and had connections to the Gestapo, or possibly because Stein was an American and a famous author. Stein's book "Wars I Have Seen" written before the German surrender and before the liberation of German concentration camps, likened the German army to Keystone cops. When Faÿ was sentenced to hard labor for life after the war, Stein and Alice campaigned for his release. Several years later, Toklas would contribute money to Faÿ's escape from prison. After the war, Stein was visited by many young American soldiers. The August 6, 1945, issue of Life magazine featured a photo of Stein and American soldiers posing in front of Hitler's bunker in Berchtesgaden. They are all giving the Nazi salute and Stein is wearing the traditional Alpine cap, accompanied by the text: "Off We All Went To See Germany."[112]

In the 1980s, a cabinet in the Yale University Beinecke Library, which had been locked for an indeterminate number of years, was opened and found to contain some 300 love letters written by Stein and Toklas. They were made public for the first time, revealing intimate details of their relationship. Stein's endearment for Toklas was "Baby Precious", in turn Stein was for Toklas, "Mr. Cuddle-Wuddle".[28]

Lesbian relationships edit

Stein is the author of one of the earliest coming out stories, Q.E.D. (published in 1950 as Things as They Are), written in 1903 and suppressed by the author. The story, written during travels after leaving college, is based on a three-person romantic affair in which she became involved while studying at Johns Hopkins in Baltimore. The affair was complicated, as Stein was less experienced with the social dynamics of romantic friendship as well as her own sexuality and any moral dilemmas regarding it. Stein maintained at the time that she detested "passion in its many disguised forms". The relationships of Stein's acquaintances Mabel Haynes and Grace Lounsbury ended as Haynes started one with Mary Bookstaver (also known as May Bookstaver). Stein became enamored of Bookstaver but was unsuccessful in advancing their relationship. Bookstaver, Haynes, and Lounsbury all later married men.[75]

Stein began to accept and define her pseudo-masculinity through the ideas of Otto Weininger's Sex and Character (1906). Weininger, though Jewish by birth, considered Jewish men effeminate and women as incapable of selfhood and genius, except for female homosexuals who may approximate masculinity. As Stein equated genius with masculinity, her position as a female and an intellectual becomes difficult to synthesize and modern feminist interpretations of her work have been called into question.[113]

More positive affirmations of Stein's sexuality began with her relationship with Alice B. Toklas. Ernest Hemingway describes how Alice was Gertrude's "wife" in that Stein rarely addressed his (Hemingway's) wife, and he treated Alice the same, leaving the two "wives" to chat.[114]

The more affirming essay "Miss Furr and Miss Skeene" is one of the first homosexual revelation stories to be published. The work, like Q.E.D., is informed by Stein's growing involvement with a homosexual community,[114] though it is based on lesbian partners Maud Hunt Squire and Ethel Mars.[115] The work contains the word "gay" over 100 times, perhaps the first published use of the word "gay" in reference to same-sex relationships and those who have them.[115] A similar essay of gay men begins more obviously with the line "Sometimes men are kissing" but is less well known.[115]

In Tender Buttons Stein comments on lesbian sexuality and the work abounds with "highly condensed layers of public and private meanings" created by wordplay including puns on the words "box", "cow", and in titles such as "tender buttons".[115]

"There is no there there" edit

Along with Stein's widely known "Rose is a rose is a rose is a rose"[116] quotation, "there is no there there" is one of her most famous. It appears in her work Everybody's Autobiography (Random House 1937, p. 289) and is often applied to the city of her childhood, Oakland, California. Defenders and critics of Oakland have debated what she really meant when she said this in 1933, after coming to San Francisco on a book tour. She took a ferry to Oakland to visit the farm she grew up on, and the house she lived in near what is now 13th Avenue and E. 25th Street in Oakland. The house had been razed, and the farmland had been developed with new housing in the three decades since her father had sold the property and moved closer to the commercial hub of the neighborhood on Washington Street (now 12th Avenue).

Stein wrote:

She took us to see her granddaughter who was teaching in the Dominican convent in San Raphael, we went across the bay on a ferry, that had not changed but Goat Island might just as well not have been there, anyway what was the use of my having come from Oakland it was not natural to have come from there yes write about it if I like or anything if I like but not there, there is no there there.[117]

... but not there, there is no there there. ... Ah Thirteenth Avenue was the same it was shabby and overgrown. ... Not of course the house, the house the big house and the big garden and the eucalyptus trees and the rose hedge naturally were not there any longer existing, what was the use ...

It is a funny thing about addresses where you live. When you live there you know it so well that it is like an identity a thing that is so much a thing that it could not ever be any other thing and then you live somewhere else and years later, the address that was so much an address that it was like your name and you said it as if it was not an address but something that was living and then years after you do not know what the address was and when you say it is not a name anymore but something you cannot remember. That is what makes your identity not a thing that exists but something you do or do not remember.

Political views edit

According to Janet Malcolm's contested account in Two Lives: Gertrude and Alice, Stein was a vocal critic of Franklin D. Roosevelt and the New Deal.[118][119][120]

Some stress Stein's queer, feminist, pro-immigration, and democratic politics,[121][122] although her statements on immigration need to be seen in context of the time and world events.[opinion] a 1934 interview published in The New York Times she stated:

That is the reason why I do not approve of the stringent immigration laws in America today. We need the stimulation of new blood. It is best to favor healthy competition. There is no reason why we should not select our immigrants with greater care, nor why we should not bar certain peoples and preserve the color line for instance. But if we shut down on immigration completely we shall become stagnant. The French may not like the competition of foreigners, but they let them in. They accept the challenge and derive the stimulus. I am surprised that there is not more discussion of immigration in the United States than there is. We have got rid of prohibition restrictions, and it seems to me the next thing we should do is to relax the severity of immigration restrictions.[123]

She publicly endorsed General Francisco Franco during the Spanish Civil War[failed verification] and admired Vichy leader Marshal Philippe Pétain.[118] Some have argued for a more nuanced view of Stein's collaborationist activity, arguing that it was rooted in her wartime predicament and status as a Jew in Nazi-occupied France.[124][125][126][127] Similarly, Stein commented in 1938 on Benito Mussolini, Adolf Hitler, Franklin D. Roosevelt, Joseph Stalin and Leon Trotsky: "There is too much fathering going on just now and there is no doubt about it fathers are depressing."[115]

World War II activities edit

While identified with the modernist movements in art and literature, Stein's political affiliations were a mix of reactionary and progressive ideas. She was outspoken in her hostility to some liberal reforms of progressive politics. To Stein, the industrial revolution had acted as a negative societal force, disrupting stability, degrading values, and subsequently affecting cultural decline. Stein idealized the 18th century as the golden age of civilization, epitomized in America as the era of its founding fathers and what was in France, the glory of its pre-revolutionary Ancien Régime.[9][128] At the same time, she was pro-immigrant, pro-democratic, and anti-patriarchal.[129] Her last major work was the libretto of the feminist opera The Mother of Us All (1947) about the socially progressive suffragette movement and another work from this time, Brewsie and Willie (1946), expressed strong support for American G.I.s.

A compendium of source material confirms that Stein may have been able to save her life and sustain her lifestyle through the protection of powerful Vichy government official Bernard Faÿ. Stein had met Faÿ in 1926, and he became her "dearest friend during her life", according to Alice B. Toklas. Faÿ had been the primary translator of Stein's work into French and subsequently masterminded her 1933–34 American book tour, which gave Stein celebrity status and proved to be a highly successful promotion of her memoir, The Autobiography of Alice B. Toklas.[9] Faÿ's influence was instrumental in avoiding Nazi confiscation of Stein's historically significant and monetarily valuable collection of artwork, which throughout the war years was housed in Stein's Paris rue Christine apartment, under locked safeguard.[130]

In 1941, at Faÿ's suggestion, Stein consented to translate into English some 180 pages of speeches made by Marshal Philippe Pétain. In her introduction, Stein crafts an analogy between George Washington and Pétain. She writes of the high esteem in which Pétain is held by his countrymen; France respected and admired the man who had struck an armistice with Hitler. Conceived and targeted for an American readership, Stein's translations were ultimately never published in the United States. Random House publisher Bennett Cerf had read the introduction Stein had written for the translations and was horrified by what she had produced.[131]

Although Jewish, Stein collaborated with Vichy France, a regime that deported more than 75,000 Jews to Nazi concentration camps, of whom only three percent survived the Holocaust.[9][132] In 1944, Stein wrote that Petain's policies were "really wonderful so simple so natural so extraordinary". This was Stein's contention in the year when the town of Culoz, where she and Toklas resided, saw the removal of its Jewish children to Auschwitz.[112] It is difficult to say, however, how aware Stein was of these events. As she wrote in Wars I Have Seen, "However near a war is it is always not very near. Even when it is here."[133] Stein had stopped translating Petain's speeches three years previously, in 1941.

Stein was able to condemn the Japanese attack at Pearl Harbor while simultaneously maintaining the dissonant acceptance of Hitler as conqueror of Europe.[9] Journalist Lanning Warren interviewed Stein in her Paris apartment in a piece published in The New York Times Magazine on May 6, 1934. Stein, seemingly ironically, proclaimed that Hitler merited the Nobel Peace Prize.

The Saxon element is always destined to be dominated. The Germans have no gift at organizing. They can only obey. And obedience is not organization. Organization comes from community of will as well as community of action. And in America, our democracy has been based on community of will and effort.... I say Hitler ought to have the peace prize ... because he is removing all elements of contest and struggle from Germany. By driving out the Jews and the democratic Left elements, he is driving out everything that conduces to activity. That means peace.[9][130][131][134]

Given that after the war Stein commented that the only way to ensure world peace was to teach the Germans disobedience,[135] this 1934 Stein interview has come to be interpreted as an ironic jest made by a practiced iconoclast hoping to gain attention and provoke controversy. In an effort to correct popular mainstream misrepresentations of Stein's wartime activity, a dossier of articles by critics and historians has been gathered for the online journal Jacket2.[136]

How much of Stein's wartime activities were motivated by the real exigencies of self-preservation in a dangerous environment can only be speculated upon. However, her loyalty to Pétain may have gone beyond expedience.[131][136] She had been urged to leave France by American embassy officials, friends and family when that possibility still existed, but declined to do so. In an essay written for the Atlantic Monthly in November 1940, Stein wrote about her decision not to leave France: "it would be awfully uncomfortable and I am fussy about my food." Stein continued to praise Pétain after the war ended, this at a time when Pétain had been sentenced to death by a French court for treason.[9]

Author Djuna Barnes provided a caustic assessment of Stein's book, Wars I Have Seen: "You do not feel that she [Stein] is ever really worried about the sorrows of the people. Her concerns at its highest pitch is a well-fed apprehension."[112]

Others have argued that some of the accounts of Stein's war time activities have amounted to a "witch hunt".[137]

Death edit

Stein died on July 27, 1946, at the age of 72 after surgery for stomach cancer at the American Hospital in Neuilly-sur-Seine, near Paris.[138] She was interred in Paris in Père Lachaise Cemetery.[139] Later Alice B. Toklas was buried alongside her.[140] Famously, one version of her last moments reports that, before having been taken into surgery, Stein asked her partner Toklas: "What is the answer?" After Toklas replied to Stein that there was no answer, Stein countered by sinking back into her bed, murmuring: "Then, there is no question!"[141]

Her companion Toklas, however, has given two other versions of the encounter—neither of which agrees with the "canonical" version above. Writing in the June 2005 edition of The New Yorker, Janet Malcolm describes:

On July 27, 1946, Stein was operated on for what proved to be inoperable stomach cancer and died before coming out of anesthesia. In "What Is Remembered," Toklas wrote of the "troubled, confused and very uncertain" afternoon of the surgery. "I sat next to her and she said to me early in the afternoon, What is the answer? I was silent. In that case, she said, what is the question?" However, in a letter to Van Vechten ten years earlier, Toklas had written:

About Baby's last words. She said upon waking from a sleep—What is the question. And I didn't answer thinking she was not completely awakened. Then she said again—What is the question and before I could speak she went on—If there is no question then there is no answer.

Stein's biographers have naturally selected the superior "in that case what is the question?" version. Strong narratives win out over weak ones when no obstacle of factuality stands in their way. What Stein actually said remains unknown. That Toklas cited the lesser version in a letter of 1953 is suggestive but not conclusive.[142]

Stein named writer and photographer Carl Van Vechten as her literary executor, and he helped to publish works of hers that remained unpublished at the time of her death.

Critical reception edit

Sherwood Anderson in his public introduction to Stein's 1922 publication of Geography and Plays wrote:

For me the work of Gertrude Stein consists in a rebuilding, an entirely new recasting of life, in the city of words. Here is one artist who has been able to accept ridicule, who has even forgone the privilege of writing the great American novel, uplifting our English speaking stage, and wearing the bays of the great poets to go live among the little housekeeping words, the swaggering bullying street-corner words, the honest working, money-saving words and all the other forgotten and neglected citizens of the sacred and half-forgotten city.

In a private letter to his brother Karl, Anderson said, "As for Stein, I do not think her too important. I do think she had an important thing to do, not for the public, but for the artist who happens to work with words as his material.[143]

James Thurber wrote:

Anyone who reads at all diversely during these bizarre 1920s 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. 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 August 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.[144]

"The interesting writer is where there is an adversary, a problem. Why Stein is not, finally, a good or helpful writer. There is no problem. It's all affirmation. A rose is a rose is a rose."
Susan Sontag, from Journals and Notebooks, 1964–1980.[145]

In his 1938 biographical novel The Green Fool, Irish poet Patrick Kavanagh describes the works of Gertrude Stein fondly as being "like whisky to me; her strange rhythms broke up the cliché formation of my thought".[146]

Legacy and commemoration edit

Stein has been the subject of many artistic works.

In Bryant Park, in New York City, there is cast replica of sculptor Jo Davidson's bronze bust of Stein. The original, created in 1923, is now in the collection of the Whitney Museum of American Art.[147]

Composers Florence Wickham and Marvin Schwartz used Stein's text for their operetta Look and Long.[148]

In 2005, playwright/actor Jade Esteban Estrada portrayed Stein in the solo musical ICONS: The Lesbian and Gay History of the World, Vol. 1 at Princeton University. In 2006, theatre director/actor Luiz Päetow created his solo, Plays, portraying Stein's 1934 homonymous lecture, and toured Brazil for several years.[149] Loving Repeating is a musical by Stephen Flaherty based on the writings of Gertrude Stein. Stein and Toklas are both characters in the eight-person show. Stein is a central character in Nick Bertozzi's 2007 graphic novel The Salon.

The posthumously published Journals of Ayn Rand contain several highly hostile references to Stein. From Rand's working notes for her novel The Fountainhead, it is clear that the character Lois Cook in that book was intended as a caricature of Stein.[150]

Stein (played by Bernard Cribbins) and Toklas (played by Wilfrid Brambell) were depicted in the Swedish 1978 absurdist fiction film Picassos äventyr (The Adventures of Picasso) by director Tage Danielsson, with Gösta Ekman as Picasso.[151]

Stein was portrayed in the 2011 Woody Allen film Midnight in Paris by Kathy Bates, and by Tracee Chimo in the 2018 season of the television series Genius which focuses on the life and career of Pablo Picasso.

Waiting for the Moon, a movie starring Linda Bassett that was released in 1987.[152] The Young Indiana Jones Chronicles, a TV series starring Alice Dvoráková that was released in 1993.[153]

Stein is added to a list of great artists and notables in the popular Broadway musical Rent in the song "La Vie Boheme". She is also mentioned in the Fred Astaire–Ginger Rogers 1935 film Top Hat and in the song "Roseability" by the Scottish rock group Idlewild.

Composer Ricky Ian Gordon and librettist Royce Vavrek's opera 27 about Stein and Toklas premiered at Opera Theatre of St. Louis in June 2014 with Stephanie Blythe as Stein.[154]

In 2014 Stein was one of the inaugural honorees in the Rainbow Honor Walk, a walk of fame in San Francisco's Castro neighborhood noting LGBTQ people who have "made significant contributions in their fields".[155][156][157]

Edward Einhorn wrote the play The Marriage of Alice B. Toklas by Gertrude Stein, a farce about their fantasy marriage that also told the story of their life. It premiered in May 2017 at HERE Arts Center in New York.[158]

The 2018 artwork Words Doing As They Want to Do by Eve Fowler involved recording trans and lesbian Californians reading Stein's 1922 work called "Miss Furr and Miss Skeene".[159]

The Gertrude Stein Society (GSS) at the Johns Hopkins University School of Medicine, an organization for LGBTQ+ students at the Johns Hopkins Medical Institutions, is named after her.[160]

Published works edit

 
Wikisource has original works by or about:
Gertrude Stein
  • Three Lives (1909)
  • White Wines (1913)
  • Tender Buttons: Objects, Food, Rooms (1914) online at Bartleby
  • An Exercise in Analysis (1917)
  • A Circular Play (1920)
  • Geography and Plays (1922), includes A List
  • The Making of Americans: Being a History of a Family's Progress (written 1906–8, published 1925)
  • Four Saints in Three Acts (libretto, 1929: music by Virgil Thomson, 1934)
  • Useful Knowledge (1929)
  • An Acquaintance with Description (1929)
  • Lucy Church Amiably (1930). First Edition published by Imprimerie Union in Paris. The First American edition was published in 1969 by Something Press.
  • How to Write (1931)
  • They must. Be Wedded. To Their Wife (1931)
  • Operas and Plays (1932)
  • Matisse Picasso and Gertrude Stein with Two Shorter Stories (1933)
  • The Autobiography of Alice B. Toklas (1933a)
  • Blood on the Dining Room Floor (1933b)
  • Portraits and Prayers (1934)
  • Lectures in America (1935)
  • The Geographical History of America or the Relation of Human Nature to the Human Mind (1936)
  • Everybody's Autobiography (1937)
  • Picasso, photo. Cecil Beaton (1938)
  • Doctor Faustus Lights the Lights (1938)
  • The World is Round, UK edition illus. Sir Francis Rose; US edition illus. Clement Hurd (1939)
  • Paris France (1940)
  • Ida A Novel (1941)
  • Three Sisters Who Are Not Sisters (1943)
  • Wars I Have Seen (1945a)
  • À la recherche d'un jeune peintre (Max-Pol Fouchet, ed., 1945b)
  • Reflections on the Atomic Bomb (1946a)
  • Brewsie and Willie (1946b)
  • The Mother of Us All (libretto, 1946c: music by Virgil Thompson 1947)
  • Gertrude Stein on Picasso (1946d)
  • Four in America (1947)
  • Mrs. Reynolds (1947)
  • Last Operas and Plays (Carl van Vechten, ed., 1949)
  • The Things as They Are (written as Q.E.D. in 1903, published 1950)
  • Patriarchal Poetry (1953)
  • Alphabets and Birthdays (1957)
  • Fernhurst, Q.E.D. and Other Early Writings (1971)
  • Stein, Gertrude; van Vechten, Carl (1986), Burns, Edward (ed.), The Letters of Gertrude Stein and Carl Van Vechten, 1913–1946, New York: Columbia University Press, ISBN 978-0-231-06308-1..
  • Stein, Gertrude; Wilder, Thornton (1996), Burns, Edward; Dydo, Ulla, eds., The Letters of Gertrude Stein and Thornton Wilder, Yale University Press, ISBN 978-0-300-06774-3.
  • Stein, Gertrude (1998a), Chessman, Harriet; Stimpson, Catharine R. (eds.), Writings 1903–1932, Library of America, ISBN 978-1-883011-40-6.
  • ———————— (1998b), Chessman, Harriet; Stimpson, Catharine R. (eds.), Writings 1932–1946, Library of America, ISBN 978-1-883011-41-3.
  • Toklas, Alice (1973), Burns, Edward (ed.), Staying on Alone: Letters, New York: Liveright, ISBN 978-0-87140-569-2.
  • Grahn, Judy, ed. (1989), Really Reading Gertrude Stein: A Selected Anthology with Essays by Judy Grahn, Crossing Press, ISBN 978-0-89594-380-4
  • Vechten, Carl Van, ed. (1990). Selected Writings of Gertrude Stein. ISBN 0-679-72464-8

In the media edit

  • Paris Was a Woman (1996 documentary)[161]

See also edit

Related exhibits edit

  • The Steins Collect: Matisse, Picasso, and the Parisian Avant-Garde, The Metropolitan Museum of Art, June 3, 2012
  • , San Francisco Museum of Modern Art, September 6, 2011, archived from the original on June 24, 2011, retrieved June 25, 2011
  • Seeing Gertrude Stein: five stories, Washington, D.C.: The National Portrait Gallery, Smithsonian Institution, January 22, 2012
  • , San Francisco: Contemporary Jewish Museum, September 6, 2011, archived from the original on July 28, 2011
  • , San Francisco: Yerba Buena Center for the Arts, August 18–21, 2011, archived from the original on March 21, 2012, retrieved July 4, 2011
  • , San Francisco: M. H. de Young Memorial Museum, October 9, 2011, archived from the original on June 28, 2011, retrieved July 4, 2011
  • Riba-Rovira Galeria Muro, Homenage for Gertrude Stein, 2012, Valencia, ES

References edit

  1. ^ "Gertrude Stein's Oakland". HuffPost. May 31, 2012. Retrieved January 16, 2024.
  2. ^ a b Pound, Cath (July 26, 2021). "The shocking memoir of the 'lost generation'". BBC. Retrieved March 5, 2023.
  3. ^ Haas, Brenda (July 26, 2021). "Gertrude Stein: A complex pioneer of modernism". Deutsche Welle. Retrieved March 5, 2023.
  4. ^ a b c "Extravagant Crowd: Gertrude Stein and Alice B. Toklas". Retrieved October 16, 2012.
  5. ^ Mellow, James R. (May 3, 1998). "The Stein Salon Was The First Museum of Modern Art". The New York Times. Retrieved October 13, 2012.
  6. ^ Fritz Monade (August 23, 2013). "Natias Neutert about Gertrude Stein´s Rose". www.youtube.com.
  7. ^ "Gertrude Stein's Oakland". HuffPost. May 31, 2012. Retrieved January 16, 2024.
  8. ^ Barbara Will. HUMANITIES, March/April 2012, Volume 33, Number 2:The Strange Politics of Gertrude Stein.
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Works cited edit

  • Behrens, Roy R. Cook Book: Gertrude Stein, William Cook and Le Corbusier. Dysart, Iowa: Bobolink Books, 2005; ISBN 0-9713244-1-7.
  • Blackmer, Corrine E (1995), "Gertrude Stein", in Claude J. Summers (ed.), The Gay and Lesbian Literary Heritage, New York : H. Holt, ISBN 978-0-8050-5009-7
  • Bowers, Jane Palatini. 1991. "They Watch Me as They Watch This": Gertrude Stein's Metadrama. Philadelphia: University of Pennsylvania Press. ISBN 0-8122-3057-4.
  • Dean, Gabrielle (April 2008), "Grid Games: Gertrude Stein's Diagrams and Detectives", Modernism/modernity, JHU, 15 (2): 317–41, doi:10.1353/mod.2008.0031, S2CID 143340192.
  • Grahn, Judy (1989). Really Reading Gertrude Stein: A Selected Anthology with essays by Judy Grahn. Freedom, California: The Crossing Press. ISBN 0-89594-380-8.
  • Hobhouse, Janet. Everybody Who Was Anybody: A Biography of Gertrude Stein New York: G. P. Putnam's Sons, 1975. ISBN 978-1-199-83299-3.
  • Kellner, Bruce, ed. (1988), A Gertrude Stein Companion: Content with the Example, New York; Westport, Connecticut; London: Greenwood Press, ISBN 978-0-313-25078-1
  • Jaillant, Lise (2015), "Shucks, we've got glamour girls too! Gertrude Stein, Bennett Cerf and the Culture of Celebrity", Journal of Modern Literature, 39 (1): 149–169, doi:10.2979/jmodelite.39.1.149, S2CID 162809458
  • Malcolm, Janet. Two Lives: Gertrude and Alice, London: Yale University Press, 2007. ISBN 978-0-300-12551-1
  • Malcolm, Janet. Gertrude Stein's War, The New Yorker, June 2, 2003, pp. 58–81.
  • Malcolm, Janet (June 13, 2005), "Someone Says Yes to It: Gertrude Stein, Alice B. Toklas, and "The Making of the Americans"", The New Yorker, pp. 148–165.
  • Malcolm, Janet. Strangers in Paradise, The New Yorker, November 13, 2006, pp. 54–61.
  • Mellow, James R. (1974), Charmed Circle: Gertrude Stein & Company, New York, Washington: Praeger Publishers, ISBN 978-0-395-47982-7
  • Meyer, Steven (2001), Irresistible Dictation: Gertrude Stein and the Correlations of Writing and Science, Stanford: Stanford University Press
  • Perelman, Bob. The Trouble with Genius: Reading Pound, Joyce, Stein, and Zukofsky. Berkeley, California: University of California Press, 1994.
  • Rosenbaum, Fred (1987), "San Francisco-Oakland: The Native Son", in Brinner, William M; Rischin, Moses (eds.), Like All the Nations?: The Life and Legacy of Judah L. Magnes, State University of New York Press, ISBN 978-0-88706-507-1
  • The Museum of Modern Art, New York (1970), Four Americans in Paris: The Collections of Gertrude Stein and Her Family, New York: The Museum of Modern Art, ISBN 978-0-07-810067-3
  • Ryan, Betsy Alayne. 1984. Gertrude Stein's Theatre of the Absolute. Theater and Dramatic Studies Ser., 21. Ann Arbor and London: UMI Research Press. ISBN 0-8357-2021-7.
  • Stendhal, Renate, ed. (1989), Gertrude Stein In Words and Pictures: A Photobiography, Chapel Hill: Algonquin Books, ISBN 978-0-945575-99-3.
  • Sontag, Susan. 2012. A Consciousness is Harnessed to Flesh: Journals and Notebooks, 1964-1980. Farrar, Straus, Giroux Publishers. New York. ISBN 978-0-374-10076-6
  • Truong, Monique. The book of salt, Boston: Houghton Mifflin Company, 2003. A novel about a young Vietnamese cook who worked in Stein's Montparnasse-household.

External links edit

 
Look up there is no there there in Wiktionary, the free dictionary.
 
Wikiquote has quotations related to Gertrude Stein.
  • Works by Gertrude Stein in eBook form at Standard Ebooks
  • Works by Gertrude Stein at Project Gutenberg
  • Works by or about Gertrude Stein at Internet Archive
  • Works by Gertrude Stein at LibriVox (public domain audiobooks)  
  • Gertrude Stein and Alice B. Toklas Collection at the Beinecke Rare Book and Manuscript Library
  • Gertrude Stein and Alice B. Toklas Papers at the Beinecke Rare Book and Manuscript Library
  • Gertrude Stein Papers at the Harry Ransom Center
  • Gertrude Stein and Her Circle papers at the University of Maryland libraries
  • , American Studies at the University of Virginia, archived from the original on November 13, 2009, retrieved October 6, 2009.
  • , archived from the original on July 4, 2013, retrieved July 7, 2013
  • , PBase, archived from the original (birth placard) on January 26, 2009, retrieved August 4, 2007.
  • Stein, Gertrude, , Z. Smith Reynolds Library, Wake Forest University, archived from the original (manuscript) on February 16, 2011, retrieved February 17, 2011.
  • van Vechten, Carl, , archived from the original (photographic portraits) on December 15, 2018, retrieved September 27, 2019.
  • Williams, William Carlos, , Center for book culture, archived from the original on August 3, 2004.
  • , Music of the United States of America (MUSA), archived from the original on September 1, 2014, retrieved August 16, 2013
  • , Ellen's Place, archived from the original on June 4, 2003.
  • , Infography, archived from the original on November 18, 2010, retrieved November 10, 2009.
  • , Ubu, archived from the original on February 22, 2004, retrieved March 8, 2004, featuring a reading of If I Told Him: A Completed Portrait of Picasso and A Valentine to Sherwood Anderson.
  • Gertrude Stein, Gradually; readings from Autobiography of Alice B. Toklas, Bee Time Vine, and more. Includes excerpts from Patriarchal Poetry and layered-voice readings.
  • "The Steins Collect: Matisse, Picasso, and the Parisian Avant Garde" at the Metropolitan Museum of Art, NYC-Arts, April 2, 2009, archived from the original (profile) on April 15, 2013.
  • a rare recording made in 1934 and 1935
Awards and achievements
Preceded by Cover of Time magazine
September 11, 1933 		Succeeded by

February 16, 2024
gertrude, stein, february, 1874, july, 1946, american, novelist, poet, playwright, collector, born, allegheny, pennsylvania, part, pittsburgh, raised, oakland, california, stein, moved, paris, 1903, made, france, home, remainder, life, hosted, paris, salon, wh. Gertrude Stein February 3 1874 July 27 1946 was an American novelist poet playwright and art collector Born in Allegheny Pennsylvania now part of Pittsburgh and raised in Oakland California 1 Stein moved to Paris in 1903 and made France her home for the remainder of her life She hosted a Paris salon where the leading figures of modernism in literature and art such as Pablo Picasso Ernest Hemingway F Scott Fitzgerald Sinclair Lewis Ezra Pound Sherwood Anderson and Henri Matisse would meet 2 3 4 Gertrude SteinPortrait by Carl Van Vechten 1935Born 1874 02 03 February 3 1874Allegheny Pennsylvania U S DiedJuly 27 1946 1946 07 27 aged 72 Neuilly sur Seine FranceResting placePere Lachaise CemeteryOccupationWriter poet novelist playwright art collectorEducationHarvard University BA Johns Hopkins UniversityLiterary movementModernist literaturePartnerAlice ToklasSignatureIn 1933 Stein published a quasi memoir of her Paris years The Autobiography of Alice B Toklas written in the voice of Alice B Toklas her life partner The book became a literary bestseller and vaulted Stein from the relative obscurity of the cult literature scene into the limelight of mainstream attention 5 Two quotes from her works have become widely known Rose is a rose is a rose is a rose 6 and there is no there there with the latter often taken to be a reference to her childhood home of Oakland 7 Her books include Q E D 1903 about a lesbian romantic affair involving several of Stein s friends Fernhurst a fictional story about a love triangle Three Lives 1905 06 The Making of Americans 1902 1911 and Tender Buttons 1914 Her activities during World War II have been the subject of analysis and commentary As a Jew living in Nazi occupied France Stein may have only been able to sustain her lifestyle as an art collector and indeed to ensure her physical safety through the protection of the powerful Vichy government official and Nazi collaborator Bernard Fay After the war ended Stein expressed admiration for another Nazi collaborator Vichy leader Marshal Petain 8 9 Contents 1 Early life 2 Education 2 1 Radcliffe 2 2 Johns Hopkins School of Medicine 3 Art collection 4 27 rue de Fleurus The Stein salon 5 Literary style 6 Literary career 6 1 America 1934 1935 6 2 Books 6 2 1 Q E D 6 2 2 Fernhurst 1904 6 2 3 Three Lives 1905 1906 6 2 4 The Making of Americans 1902 1911 6 2 5 Word Portraits 1908 1913 6 2 6 Tender Buttons 1912 6 2 7 The Autobiography of Alice B Toklas 1933 6 2 8 Four in America 1947 7 Alice B Toklas 7 1 Lesbian relationships 8 There is no there there 9 Political views 10 World War II activities 11 Death 12 Critical reception 13 Legacy and commemoration 14 Published works 15 In the media 16 See also 17 Related exhibits 18 References 18 1 Works cited 19 External linksEarly life edit nbsp Stein s birthplace and childhood home in Allegheny West 10 Stein the youngest of a family of five children was born on February 3 1874 in Allegheny Pennsylvania which merged with Pittsburgh in 1907 to upper middle class Jewish parents Daniel Stein and Amelia Stein nee Keyser 11 12 Her father was a wealthy businessman with real estate holdings German and English were spoken in their home 13 Gertrude s siblings were Michael 1865 Simon 1868 Bertha 1870 and Leo 1872 14 nbsp Stein at three years of ageWhen Stein was three years old she and her family moved to Vienna and then Paris Accompanied by governesses and tutors the Steins endeavored to imbue their children with the cultured sensibilities of European history and life 15 After a year long sojourn abroad they returned to America in 1878 settling in Oakland California where her father became director of San Francisco s streetcar lines the Market Street Railway 16 Stein attended First Hebrew Congregation of Oakland s Sabbath school 17 During their residence in Oakland they lived for four years on a ten acre lot and Stein built many memories of California there 18 She would often go on excursions with her brother Leo with whom she developed a close relationship Stein found formal schooling in Oakland unstimulating 19 but she often read Shakespeare Wordsworth Scott Burns Smollett Fielding and more 12 When Stein was 14 years old her mother died Three years later her father died as well Stein s eldest brother Michael Stein age 26 14 then took over the family business holdings moved his four siblings to San Francisco 20 where he now was a director of the Market Street Cable Railway Company and in 1892 arranged for Gertrude and another sister Bertha to live with their mother s family in Baltimore 21 Here she lived with her uncle David Bachrach 22 who in 1877 had married Gertrude s maternal aunt Fanny Keyser In Baltimore Stein met Claribel and Etta Cone who held Saturday evening salons that she would later emulate in Paris The Cones shared an appreciation for art and conversation about it and modeled a domestic division of labor that Stein would replicate in her relationship with Alice B Toklas 2 23 Education editRadcliffe edit Stein attended Radcliffe College 15 then an annex of Harvard University from 1893 to 1897 and was a student of psychologist William James 24 With James s supervision Stein and another student Leon Mendez Solomons performed experiments on normal motor automatism a phenomenon hypothesized to occur in people when their attention is divided between two simultaneous intelligent activities such as writing and speaking These experiments yielded examples of writing that appeared to represent stream of consciousness a psychological theory often attributed to James and the style of modernist authors Virginia Woolf and James Joyce In 1934 behavioral psychologist B F Skinner interpreted Stein s difficult poem Tender Buttons as an example of normal motor automatism 25 In a letter Stein wrote during the 1930s she explained that she never accepted the theory of automatic writing T here can be automatic movements but not automatic writing Writing for the normal person is too complicated an activity to be indulged in automatically 26 She did publish an article in a psychological journal on spontaneous automatic writing while at Radcliffe but the unconscious and the intuition even when James himself wrote about them never concerned her 12 At Radcliffe she began a lifelong friendship with Mabel Foote Weeks whose correspondence traces much of the progression of Stein s life In 1897 Stein spent the summer in Woods Hole Massachusetts studying embryology at the Marine Biological Laboratory 27 She received her A B Bachelor of Arts magna cum laude from Radcliffe in 1898 12 Johns Hopkins School of Medicine edit William James who had become a committed mentor to Stein at Radcliffe recognizing her intellectual potential and declaring her his most brilliant woman student encouraged Stein to enroll in medical school Although Stein professed no interest in either the theory or practice of medicine she enrolled at Johns Hopkins School of Medicine in 1897 In her fourth year Stein failed an important course lost interest and left 12 Ultimately medical school had bored her and she had spent many of her evenings not applying herself to her studies but taking long walks and attending the opera 15 28 Stein s tenure at Johns Hopkins was marked by challenges and stress Men dominated the medical field and the inclusion of women in the profession was not unreservedly or unanimously welcomed Writing of this period in her life in Things As They Are 1903 Stein often revealed herself as a depressed young woman dealing with a paternalistic culture struggling to find her own identity which she realized could not conform to the conventional female role Her uncorseted physical appearance and eccentric mode of dress aroused comment and she was described as Big and floppy and sandaled and not caring a damn 20 29 According to Linda Wagner Martin Stein s controversial stance on women s medicine caused problems with the male faculty and contributed to her decision to leave without finishing her degree 11 Asked to give a lecture to a group of Baltimore women in 1899 Stein gave a controversial speech titled The Value of College Education for Women undoubtedly designed to provoke the largely middle class audience In the lecture Stein maintained average middle class woman supported by some male relative a husband or father or brother is not worth her keep economically considered This economic dependence caused her to become oversexed adapting herself to the abnormal sex desire of the male and becoming a creature that should have been first a human being and then a woman into one that is a woman first and always 29 While a student at Johns Hopkins and purportedly still naive about sexual matters Stein experienced an awakening of her latent sexuality Sometime in 1899 or 1900 she became infatuated with Mary Bookstaver who was involved in a relationship with a medical student Mabel Haynes Witnessing the relationship between the two women served for Stein as her erotic awakening The unhappy love triangle demoralized Stein arguably contributing to her decision to abandon her medical studies 29 In 1902 Stein s brother Leo Stein left for London and Stein followed The following year the two relocated to Paris where Leo hoped to pursue an art career 28 Art collection edit nbsp 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 nbsp Leo Gertrude and Michael SteinFrom 1903 until 1914 when they dissolved their common household Gertrude and her brother Leo shared living quarters near the Luxembourg Gardens on the 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 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 16 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 Cezanne and the dealer Ambroise Vollard 30 Vollard was heavily involved in the Cezanne art market and he was the first important contact in the Paris art world for both Leo and Gertrude 12 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 Vollard s Gallery buying Gauguin s Sunflowers 31 and Three Tahitians 32 Cezanne s Bathers 33 and two Renoirs 34 nbsp Stein in her Paris studio with a 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 35 In the first half of 1905 the Steins acquired Cezanne s Portrait of Mme Cezanne and Delacroix s Perseus and Andromeda 36 Shortly after the opening of the Salon d Automne of 1905 on October 18 1905 the Steins acquired Matisse s Woman with a Hat 37 and Picasso s Young Girl with a Flower Basket 38 In 1906 Picasso completed Portrait of Gertrude Stein which remained in her collection until her death 39 40 Henry McBride art critic for the 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 41 McBride also observed that Gertrude collected geniuses rather than masterpieces She recognized them a long way off 41 By early 1906 Leo and Gertrude Stein s studio had many paintings by Henri Manguin Pierre Bonnard Pablo Picasso Paul Cezanne Pierre Auguste Renoir Honore Daumier Henri Matisse and Henri de Toulouse Lautrec 42 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 43 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 and Etta Cone collected similarly eventually donating their art collection virtually intact to the Baltimore Museum of Art 44 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 Cezanne Matisse and Picasso s works dominated Leo and Gertrude s collection the collection of Michael and Sarah Stein emphasized Matisse 45 In April 1914 Leo relocated to Settignano Italy near Florence and the art collection was divided The division of the Steins art collection was described in a letter by Leo 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 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 amp ready methods amp 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 46 47 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 Cezanne nonetheless leaving all the artist s works with his sister taking with him only a Cezanne painting of 5 apples 16 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 16 The Steins holdings were dispersed eventually by various methods and for various reasons 48 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 49 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 50 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 Andre Masson and Sir Francis Rose In 1932 Stein asserted Painting now after its great period has come back to be a minor art 16 In 1945 in a preface for the first exhibition of Spanish painter Francisco Riba Rovira who painted a portrait of her Stein wrote I explained that for me all modern painting is based on what Cezanne 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 Cezanne 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 Cezanne 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 Cezanne 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 51 52 27 rue de Fleurus The Stein salon edit nbsp Plaque at 27 rue de FleurusThe gatherings in the Stein home brought together confluences of talent and thinking that would help define modernism in literature and art Dedicated attendees included Pablo Picasso Ernest Hemingway F Scott Fitzgerald Sinclair Lewis Ezra Pound Gavin Williamson Thornton Wilder Sherwood Anderson Francis Cyril Rose Bob Brown Rene Crevel Elisabeth de Gramont Francis Picabia Claribel Cone Mildred Aldrich Jane Peterson Carl Van Vechten Henri Matisse and Georges Braque 4 Saturday evenings had been set as the fixed day and time for formal congregation so Stein could work at her writing uninterrupted by impromptu visitors It was Stein s partner Alice who became the de facto hostess for the wives and girlfriends of the artists in attendance who met in a separate room From Alice Entertained the Wives New York Times 1977 I am a person acted upon not a person who acts Alice told one of Gertrude s biographers When guests showed up Alice was called upon to entertain their wives The ladies were of course second class citizens 53 Gertrude attributed the beginnings of the Saturday evening salons to Matisse as people began visiting to see his paintings and those of Cezanne Matisse brought people everybody brought somebody and they came at any time and it began to be a nuisance and it was in this way that Saturday evenings began 54 Among Picasso s acquaintances who frequented the Saturday evenings were Fernande Olivier Picasso s mistress Georges Braque artist Andre Derain artist Max Jacob poet Guillaume Apollinaire poet Marie Laurencin artist and Apollinaire s mistress Henri Rousseau painter and Joseph Stella 55 Hemingway frequented Stein s salon but the two had an uneven relationship They began as close friends with Hemingway admiring Stein as a mentor but they later grew apart especially after Stein called Hemingway yellow in The Autobiography of Alice B Toklas 12 Upon the birth of his son Hemingway asked Stein to be the godmother of his child 56 While Stein has been credited with inventing the term Lost Generation for those whose defining moment in time and coming of age had been World War I and its aftermath there are at least three versions of the story that led to the phrase two by Hemingway and one by Stein 57 During the summer of 1931 Stein advised the young composer and writer Paul Bowles to go to Tangier where she and Alice had vacationed In 1938 Stein and Toklas moved from the rue de Fleurus to 5 rue Christine in the 6th arrondissement For much of the war they sheltered in a house they had rented for several years in the hamlet of Bilignin in the commune of Belley Ain which was initially outside the area of direct German occupation in the Zone libre Literary style edit nbsp Carl Van Vechten Portrait of Gertrude Stein 1934Stein s writing can be placed in three categories hermetic works best illustrated by The Making of Americans The Hersland Family popularized writing such as The Autobiography of Alice B Toklas and speech writing and more accessible autobiographical writing of later years of which Brewsie and Willie is a good example Her works include novels plays stories libretti and poems written in a highly idiosyncratic playful repetitive and humorous style Typical quotes are Rose is a rose is a rose is a rose Out of kindness comes redness and out of rudeness comes rapid same question out of an eye comes research out of selection comes painful cattle 58 about her childhood home in Oakland There is no there there and The change of color is likely and a difference a very little difference is prepared Sugar is not a vegetable 59 A reader wrote to Stein in 1933 asking her to explain the rose quotation received a reply from Toklas as her secretary The device rose is a rose is a rose is a rose means just that Miss Stein is unfortunately too busy herself to be able to tell you herself but trusts that you will eventually come to understand that each and every word that she writes means exactly what she says for she says very exactly what she means and really nothing more but of course nothing less 60 These stream of consciousness experiments rhythmical essays or portraits were designed to evoke the excitingness of pure being and can be seen as literature s answer to visual art styles and forms such as Cubism plasticity and collage Many of the experimental works such as Tender Buttons have since been interpreted by critics as a feminist reworking of patriarchal language These works were well received by avant garde critics but did not initially achieve mainstream success Despite Stein s work on automatic writing with William James she did not see her work as automatic but as an excess of consciousness 61 Though Stein collected cubist paintings especially those of Picasso the largest visual arts influence on her literary work is that of Cezanne Particularly he influenced her idea of equality distinguished from universality the whole field of the canvas is important 62 Rather than a figure ground relationship Stein in her work with words used the entire text as a field in which every element mattered as much as any other It is a subjective relationship that includes multiple viewpoints Stein explained T he important thing is that you must have deep down as the deepest thing in you a sense of equality 63 Her use of repetition is ascribed to her search for descriptions of the bottom nature of her characters such as in The Making of Americans where the narrator is described through the repetition of narrative phrases such as As I was saying and There will be now a history of her Stein used many Anglo Saxon words and avoided words with too much association Social judgment is absent in her writing so the reader is given the power to decide how to think and feel about the writing Anxiety fear and anger are also absent and her work is harmonic and integrative citation needed Stein s work was included in the second issue of 0 to 9 magazine a journal which explored language and meaning making during the 1960s avant garde movement Stein predominantly used the present progressive tense creating a continuous presence in her work which Grahn argues is a consequence of the previous principles especially commonality and centeredness Grahn describes play as the granting of autonomy and agency to the readers or audience rather than the emotional manipulation that is a characteristic of linear writing Stein uses play 64 In addition Stein s work is funny and multilayered allowing a variety of interpretations and engagements Lastly Grahn argues that one must insterstand engage with the work to mix with it in an active engagement rather than figuring it out Figure it in 65 In 1932 using an accessible style to appeal to a wider audience she wrote The Autobiography of Alice B Toklas the book would become her first best seller Despite the title it was actually Stein s autobiography The style was quite similar to that of The Alice B Toklas Cookbook which was written by Toklas Many critics speculated that Toklas actually had written The Autobiography of Alice B Toklas despite Toklas repeatedly denying authorship 66 Several of Stein s writings have been set to music by composers including Virgil Thomson s operas Four Saints in Three Acts and The Mother of Us All and James Tenney s setting of Rose is a rose is a rose is a rose as a canon dedicated to Philip Corner beginning with a on an upbeat and continuing so that each repetition shuffles the words e g a rose is a rose is a rose is a rose is a rose 67 Literary career edit nbsp Pablo Picasso Portrait of Gertrude Stein 1906 Metropolitan Museum of Art New York When someone commented that Stein didn t look like her portrait Picasso replied She will 68 Stein wrote If I Told Him A Completed Portrait of Picasso 1923 in response to the painting nbsp Felix Vallotton Portrait of Gertrude Stein 1907While living in Paris Stein began submitting her writing for publication Her earliest writings were mainly retellings of her college experiences Her first critically acclaimed publication was Three Lives In 1911 Mildred Aldrich introduced Stein to Mabel Dodge Luhan and they began a short lived but fruitful friendship during which the wealthy Mabel Dodge promoted Gertrude s legend in the United States Mabel was enthusiastic about Stein s sprawling publication The Makings of Americans and at a time when Stein had much difficulty selling her writing to publishers privately published 300 copies of Portrait of Mabel Dodge at Villa Curonia 49 Dodge was also involved in the publicity and planning of the 69th Regiment Armory Show in 1913 the first avant garde art exhibition in America 49 In addition she wrote the first critical analysis of Stein s writing to appear in America in Speculations or Post Impressionists in Prose published in a special March 1913 publication of Arts and Decoration 69 Foreshadowing Stein s later critical reception Dodge wrote in Speculations In Gertrude Stein s writing every word lives and apart from concept it is so exquisitely rhythmical and cadenced that if we read it aloud and receive it as pure sound it is like a kind of sensuous music Just as one may stop for once in a way before a canvas of Picasso and letting one s reason sleep for an instant may exclaim It is a fine pattern so listening to Gertrude Stein s words and forgetting to try to understand what they mean one submits to their gradual charm 69 Stein and Carl Van Vechten the noted critic and photographer became acquainted in Paris in 1913 The two became lifelong friends devising pet names for each other Van Vechten was Papa Woojums and Stein Baby Woojums Van Vechten served as an enthusiastic champion of Stein s literary work in the United States in effect becoming her American agent 4 America 1934 1935 edit In October 1934 Stein arrived in America after a 30 year absence Disembarking from the ocean liner in New York she encountered a throng of reporters Front page articles on Stein appeared in almost every New York City newspaper As she rode through Manhattan to her hotel she was able to get a sense of the publicity that would hallmark her US tour An electric sign in Times Square announced to all that Gertrude Stein Has Arrived 70 Her six month tour of the country encompassed 191 days of travel criss crossing 23 states and visiting 37 cities Among other sites Stein visited Civil War battlefields toured Chicago with homicide detectives saw a football game in New Haven dined in New Orleans visited Scott Fitzergald and Zelda Sayer in Baltimore and returned to her childhood home in Oakland 71 Stein s tour was partly to give public lectures and she prepared each individually the audiences were limited to five hundred attendees She spoke reading from notes and provided for an audience question and answer period at the end of her presentation 70 Stein s effectiveness as a lecture speaker received varying evaluations At the time some maintained that Stein s audiences by and large did not understand her lectures Some of those in the psychiatric community weighed in judging that Stein suffered from a speech disorder palilalia which caused her to stutter over words and phrases The predominant feeling however was that Stein was a compelling presence a fascinating personality who could hold listeners with the musicality of her language 70 In Washington D C Stein was invited to have tea with the President s wife Eleanor Roosevelt In Beverly Hills California she visited actor and filmmaker Charlie Chaplin who reportedly discussed the future of cinema with her 70 Stein left America in May 1935 a newly minted American celebrity with a commitment from Random House who had agreed to become the American publisher for all of her future works 70 72 The Chicago Daily Tribune wrote after Stein s return to Paris No writer in years has been so widely discussed so much caricatured so passionately championed 70 Books edit Q E D edit Stein completed Q E D her first novel on October 24 1903 73 One of the earliest coming out stories 74 it is about a romantic affair involving Stein and her friends Mabel Haynes Grace Lounsbury and Mary Bookstaver and occurred between 1897 and 1901 while she was studying at Johns Hopkins in Baltimore 75 Fernhurst 1904 edit In 1904 Stein began Fernhurst a fictional account of a scandalous three person romantic affair involving a dean M Carey Thomas a faculty member from Bryn Mawr College Mary Gwinn and a Harvard graduate Alfred Hodder 76 Mellow asserts that Fernhurst is a decidedly minor and awkward piece of writing 77 It includes some commentary that Gertrude mentioned in her autobiography when she discussed the fateful twenty ninth year 77 during which All the forces that have been engaged through the years of childhood adolescence and youth in confused and ferocious combat range themselves in ordered ranks and during which the straight and narrow gateway of maturity and life which was all uproar and confusion narrows down to form and purpose and we exchange a great dim possibility for a small hard reality Also in our American life where there is no coercion in custom and it is our right to change our vocation so often as we have desire and opportunity it is a common experience that our youth extends through the whole first twenty nine years of our life and it is not till we reach thirty that we find at last that vocation for which we feel ourselves fit and to which we willingly devote continued labor 78 Mellow observes that in 1904 30 year old Gertrude had evidently determined that the small hard reality of her life would be writing 79 Three Lives 1905 1906 edit Stein attributed the inception of Three Lives to the inspiration she received from a portrait Cezanne had painted of his wife and which was in the Stein collection She credited this as a revelatory moment in the evolution of her writing style Stein described 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 80 She began Three Lives during the spring of 1905 and finished it the following year 81 The Making of Americans 1902 1911 edit Gertrude Stein stated the date for her writing of The Making of Americans was 1906 1908 Her biographer has uncovered evidence that it actually began in 1902 and did not end until 1911 82 Stein compared her work to James Joyce s Ulysses and to Marcel Proust s In Search of Lost Time Her critics were less enthusiastic about it 83 Stein wrote the bulk of the novel between 1903 and 1911 and evidence from her manuscripts suggests three major periods of revision during that time 84 The manuscript remained mostly hidden from public view until 1924 when at the urging of Ernest Hemingway Ford Madox Ford agreed to publish excerpts in the transatlantic review 85 In 1925 the Paris based Contact Press published a limited run of the novel consisting of 500 copies A much abridged edition was published by Harcourt Brace in 1934 but the full version remained out of print until Something Else Press republished it in 1966 In 1995 a new definitive edition was published by Dalkey Archive Press with a foreword by William Gass 86 Gertrude s Matisse and Picasso descriptive essays appeared in Alfred Stieglitz s August 1912 edition of Camera Work a special edition devoted to Picasso and Matisse and represented her first publication 87 Of this publication Gertrude said h e was the first one that ever printed anything that I had done And you can imagine what that meant to me or to any one 87 Word Portraits 1908 1913 edit Stein s descriptive essays apparently began with her essay of Alice B Toklas a little prose vignette a kind of happy inspiration that had detached itself from the torrential prose of The Making of Americans 88 Stein s early efforts at word portraits are catalogued by Mellow 21 and under individual s names in Kellner 1988 Matisse and Picasso were subjects of early essays 89 later collected and published in Geography and Plays and Portraits and Prayers 90 91 Her subjects included several ultimately famous personages and her subjects provided a description of what she observed in her Saturday salons at 27 Rue de Fleurus Ada Alice B Toklas Two Women The Cone sisters Claribel Cone and Etta Cone Miss Furr and Miss Skeene Ethel Mars and Maud Hunt Squire Men Hutchins Hapgood Peter David Edstrom Maurice Sterne Matisse 1909 Henri Matisse Picasso 1909 Pablo Picasso Portrait of Mabel Dodge at the Villa Curonia 1911 Mabel Dodge Luhan and Guillaume Apollinaire 1913 Tender Buttons 1912 edit Tender Buttons is the best known of Stein s hermetic works It is a small book separated into three sections Food Objects and Rooms each containing prose under subtitles 92 Its publication in 1914 caused a great dispute between Mabel Dodge Luhan and Stein because Mabel had been working to have it published by another publisher 93 Mabel wrote at length about what she viewed as the bad choice of publishing it with the press Gertrude selected 93 Evans wrote Gertrude Claire Marie Press is absolutely third rate amp in bad odor here being called for the most part decadent and Broadwayish and that sort of thing I think it would be a pity to publish with Claire Marie Press if it will emphasize the idea in the opinion of the public that there is something degenerate amp effete amp decadent about the whole of the cubist movement which they all connect you with because hang it all as long as they don t understand a thing they think all sorts of things My feeling in this is quite strong 93 Stein ignored Mabel s exhortations and published 1 000 copies of the book in 1914 An antiquarian copy was valued at over 1 200 in 2007 citation needed It is currently in print and was re released as Tender Buttons The Corrected Centennial Edition by City Lights Publishers in March 2014 In an interview with Robert Bartlett Haas in A Transatlantic Interview 1946 Stein insisted that this work was completely realistic in the tradition of Gustave Flaubert stating the following I used to take objects on a table like a tumbler or any kind of object and try to get the picture of it clear and separate in my mind and create a word relationship between the word and the things seen Commentators have indicated that what she meant was that the reference of objects remained central to her work although the representation of them had not 94 Scholar Marjorie Perloff had said of Stein that u nlike her contemporaries Eliot Pound Moore she does not give us an image however fractured of a carafe on a table rather she forces us to reconsider how language actually constructs the world we know 94 The Autobiography of Alice B Toklas 1933 edit The publication of The Autobiography of Alice B Toklas lifted Gertrude Stein from literary obscurity to almost immediate celebrity in the United States 95 Although popular with the American public Stein received considerable backlash from individuals portrayed in her book Eugene Jolas editor of the avant garde journal Transition published a pamphlet titled Testimony against Gertrude Stein in which artists such as Henri Matisse and Georges Braque expressed their objections to Stein s portrayal of the Parisian community of artists and intellectuals 96 Braque in his response criticized she had entirely misunderstood cubism which she sees simply in terms of personalities 97 98 Four in America 1947 edit Published posthumously by Yale University Press in 1947 with an introduction by Thornton Wilder Four in America creates alternative biographies of Ulysses S Grant as a religious leader Wilbur Wright as a painter George Washington as a novelist and Henry James as a military general 99 Alice B Toklas edit nbsp Alice B Toklas and Gertrude Stein 1922 by Man RayStein met her life partner Alice B Toklas 100 on September 8 1907 on Toklas s first day in Paris at Sarah and Michael Stein s apartment 101 On meeting Stein Toklas wrote She was a golden brown presence burned by the Tuscan sun and with a golden glint in her warm brown hair She was dressed in a warm brown corduroy suit She wore a large round coral brooch and when she talked very little or laughed a good deal I thought her voice came from this brooch It was unlike anyone else s voice deep full velvety like a great contralto s like two voices 102 103 Soon thereafter Stein introduced Toklas to Pablo Picasso at his Bateau Lavoir studio where he was at work on Les Demoiselles d Avignon In 1908 they summered in Fiesole Italy Toklas staying with Harriet Lane Levy the companion of her trip from the United States and her housemate until Alice moved in with Stein and Leo in 1910 That summer Stein stayed with Michael and Sarah Stein their son Allan and Leo in a nearby villa Gertrude and Alice s summer of 1908 is memorialized in images of the two of them in Venice at the piazza in front of Saint Mark s 83 Toklas arrived in 1907 with Harriet Levy with Toklas maintaining living arrangements with Levy until she moved to 27 Rue de Fleurus in 1910 In an essay written at the time Stein humorously discussed the complex efforts involving much letter writing and Victorian niceties to extricate Levy from Toklas s living arrangements 104 In Harriet Stein considers Levy s nonexistent plans for the summer following her nonexistent plans for the winter She said she did not have any plans for the summer No one was interested in this thing in whether she had any plans for the summer That is not the complete history of this thing some were interested in this thing in her not having any plans for the summer Some who were not interested in her not having made plans for the summer were interested in her not having made plans for the following winter She had not made plans for the summer and she had not made plans for the following winter There was then coming to be the end of the summer and she was then not answering anything when any one asked her what were her plans for the winter 105 During the early summer of 1914 Stein bought three paintings by Juan Gris Roses Glass and Bottle and Book and Glasses Soon after she purchased them from Daniel Henry Kahnweiler s gallery 106 the Great War began Kahnweiler s stock was confiscated and he was not allowed to return to Paris Gris who before the war had entered a binding contract with Kahnweiler for his output was left without income Stein attempted to enter an ancillary arrangement in which she would forward Gris living expenses in exchange for future pictures Stein and Toklas had plans to visit England to sign a contract for the publication of Three Lives to spend a few weeks there and then journey to Spain They left Paris on July 6 1914 and returned on October 17 107 When Britain declared war on Germany Stein and Toklas were visiting Alfred North Whitehead in England After a supposed three week trip to England that stretched to three months due to the War they returned to France where they spent the first winter of the war With money acquired from the sale of Stein s last Matisse Woman with a Hat 108 to her brother Michael she and Toklas vacationed in Spain from May 1915 through the spring of 1916 109 During their interlude in Majorca Spain Gertrude continued her correspondence with Mildred Aldrich who kept her apprised of the War s progression and eventually inspired Gertrude and Alice to return to France to join the war effort 110 Toklas and Stein returned to Paris in June 1916 and acquired a Ford automobile with the help of associates in the United States Gertrude learned to drive it with the help of her friend William Edwards Cook 111 Gertrude and Alice then volunteered to drive supplies to French hospitals in the Ford they named Auntie after Gertrude s aunt Pauline who always behaved admirably in emergencies and behaved fairly well most times if she was flattered nbsp Stein with Ernest Hemingway s son Jack Hemingway in 1924 Stein is credited with bringing the term Lost Generation into use During the 1930s Stein and Toklas became famous with the 1933 mass market publication of The Autobiography of Alice B Toklas She and Alice had an extended lecture tour in the United States during this decade They also spent several summers in the town of Bilignin in the Ain district of eastern France situated in the picturesque region of the Rhone Alpes The two women doted on their beloved poodle named Basket whose successor Basket II comforted Alice in the years after Gertrude s death With the outbreak of World War II Stein and Toklas relocated to a country home that they had rented for many years previously in Bilignin Ain in the Rhone Alpes region Stein and Alice who were both Jewish escaped persecution probably because of their friendship to Bernard Fay who was a collaborator with the Vichy regime and had connections to the Gestapo or possibly because Stein was an American and a famous author Stein s book Wars I Have Seen written before the German surrender and before the liberation of German concentration camps likened the German army to Keystone cops When Fay was sentenced to hard labor for life after the war Stein and Alice campaigned for his release Several years later Toklas would contribute money to Fay s escape from prison After the war Stein was visited by many young American soldiers The August 6 1945 issue of Life magazine featured a photo of Stein and American soldiers posing in front of Hitler s bunker in Berchtesgaden They are all giving the Nazi salute and Stein is wearing the traditional Alpine cap accompanied by the text Off We All Went To See Germany 112 In the 1980s a cabinet in the Yale University Beinecke Library which had been locked for an indeterminate number of years was opened and found to contain some 300 love letters written by Stein and Toklas They were made public for the first time revealing intimate details of their relationship Stein s endearment for Toklas was Baby Precious in turn Stein was for Toklas Mr Cuddle Wuddle 28 Lesbian relationships edit Stein is the author of one of the earliest coming out stories Q E D published in 1950 as Things as They Are written in 1903 and suppressed by the author The story written during travels after leaving college is based on a three person romantic affair in which she became involved while studying at Johns Hopkins in Baltimore The affair was complicated as Stein was less experienced with the social dynamics of romantic friendship as well as her own sexuality and any moral dilemmas regarding it Stein maintained at the time that she detested passion in its many disguised forms The relationships of Stein s acquaintances Mabel Haynes and Grace Lounsbury ended as Haynes started one with Mary Bookstaver also known as May Bookstaver Stein became enamored of Bookstaver but was unsuccessful in advancing their relationship Bookstaver Haynes and Lounsbury all later married men 75 Stein began to accept and define her pseudo masculinity through the ideas of Otto Weininger s Sex and Character 1906 Weininger though Jewish by birth considered Jewish men effeminate and women as incapable of selfhood and genius except for female homosexuals who may approximate masculinity As Stein equated genius with masculinity her position as a female and an intellectual becomes difficult to synthesize and modern feminist interpretations of her work have been called into question 113 More positive affirmations of Stein s sexuality began with her relationship with Alice B Toklas Ernest Hemingway describes how Alice was Gertrude s wife in that Stein rarely addressed his Hemingway s wife and he treated Alice the same leaving the two wives to chat 114 The more affirming essay Miss Furr and Miss Skeene is one of the first homosexual revelation stories to be published The work like Q E D is informed by Stein s growing involvement with a homosexual community 114 though it is based on lesbian partners Maud Hunt Squire and Ethel Mars 115 The work contains the word gay over 100 times perhaps the first published use of the word gay in reference to same sex relationships and those who have them 115 A similar essay of gay men begins more obviously with the line Sometimes men are kissing but is less well known 115 In Tender Buttons Stein comments on lesbian sexuality and the work abounds with highly condensed layers of public and private meanings created by wordplay including puns on the words box cow and in titles such as tender buttons 115 There is no there there editAlong with Stein s widely known Rose is a rose is a rose is a rose 116 quotation there is no there there is one of her most famous It appears in her work Everybody s Autobiography Random House 1937 p 289 and is often applied to the city of her childhood Oakland California Defenders and critics of Oakland have debated what she really meant when she said this in 1933 after coming to San Francisco on a book tour She took a ferry to Oakland to visit the farm she grew up on and the house she lived in near what is now 13th Avenue and E 25th Street in Oakland The house had been razed and the farmland had been developed with new housing in the three decades since her father had sold the property and moved closer to the commercial hub of the neighborhood on Washington Street now 12th Avenue Stein wrote She took us to see her granddaughter who was teaching in the Dominican convent in San Raphael we went across the bay on a ferry that had not changed but Goat Island might just as well not have been there anyway what was the use of my having come from Oakland it was not natural to have come from there yes write about it if I like or anything if I like but not there there is no there there 117 but not there there is no there there Ah Thirteenth Avenue was the same it was shabby and overgrown Not of course the house the house the big house and the big garden and the eucalyptus trees and the rose hedge naturally were not there any longer existing what was the use It is a funny thing about addresses where you live When you live there you know it so well that it is like an identity a thing that is so much a thing that it could not ever be any other thing and then you live somewhere else and years later the address that was so much an address that it was like your name and you said it as if it was not an address but something that was living and then years after you do not know what the address was and when you say it is not a name anymore but something you cannot remember That is what makes your identity not a thing that exists but something you do or do not remember Political views editAccording to Janet Malcolm s contested account in Two Lives Gertrude and Alice Stein was a vocal critic of Franklin D Roosevelt and the New Deal 118 119 120 Some stress Stein s queer feminist pro immigration and democratic politics 121 122 although her statements on immigration need to be seen in context of the time and world events opinion a 1934 interview published in The New York Times she stated That is the reason why I do not approve of the stringent immigration laws in America today We need the stimulation of new blood It is best to favor healthy competition There is no reason why we should not select our immigrants with greater care nor why we should not bar certain peoples and preserve the color line for instance But if we shut down on immigration completely we shall become stagnant The French may not like the competition of foreigners but they let them in They accept the challenge and derive the stimulus I am surprised that there is not more discussion of immigration in the United States than there is We have got rid of prohibition restrictions and it seems to me the next thing we should do is to relax the severity of immigration restrictions 123 She publicly endorsed General Francisco Franco during the Spanish Civil War failed verification and admired Vichy leader Marshal Philippe Petain 118 Some have argued for a more nuanced view of Stein s collaborationist activity arguing that it was rooted in her wartime predicament and status as a Jew in Nazi occupied France 124 125 126 127 Similarly Stein commented in 1938 on Benito Mussolini Adolf Hitler Franklin D Roosevelt Joseph Stalin and Leon Trotsky There is too much fathering going on just now and there is no doubt about it fathers are depressing 115 World War II activities editWhile identified with the modernist movements in art and literature Stein s political affiliations were a mix of reactionary and progressive ideas She was outspoken in her hostility to some liberal reforms of progressive politics To Stein the industrial revolution had acted as a negative societal force disrupting stability degrading values and subsequently affecting cultural decline Stein idealized the 18th century as the golden age of civilization epitomized in America as the era of its founding fathers and what was in France the glory of its pre revolutionary Ancien Regime 9 128 At the same time she was pro immigrant pro democratic and anti patriarchal 129 Her last major work was the libretto of the feminist opera The Mother of Us All 1947 about the socially progressive suffragette movement and another work from this time Brewsie and Willie 1946 expressed strong support for American G I s A compendium of source material confirms that Stein may have been able to save her life and sustain her lifestyle through the protection of powerful Vichy government official Bernard Fay Stein had met Fay in 1926 and he became her dearest friend during her life according to Alice B Toklas Fay had been the primary translator of Stein s work into French and subsequently masterminded her 1933 34 American book tour which gave Stein celebrity status and proved to be a highly successful promotion of her memoir The Autobiography of Alice B Toklas 9 Fay s influence was instrumental in avoiding Nazi confiscation of Stein s historically significant and monetarily valuable collection of artwork which throughout the war years was housed in Stein s Paris rue Christine apartment under locked safeguard 130 In 1941 at Fay s suggestion Stein consented to translate into English some 180 pages of speeches made by Marshal Philippe Petain In her introduction Stein crafts an analogy between George Washington and Petain She writes of the high esteem in which Petain is held by his countrymen France respected and admired the man who had struck an armistice with Hitler Conceived and targeted for an American readership Stein s translations were ultimately never published in the United States Random House publisher Bennett Cerf had read the introduction Stein had written for the translations and was horrified by what she had produced 131 Although Jewish Stein collaborated with Vichy France a regime that deported more than 75 000 Jews to Nazi concentration camps of whom only three percent survived the Holocaust 9 132 In 1944 Stein wrote that Petain s policies were really wonderful so simple so natural so extraordinary This was Stein s contention in the year when the town of Culoz where she and Toklas resided saw the removal of its Jewish children to Auschwitz 112 It is difficult to say however how aware Stein was of these events As she wrote in Wars I Have Seen However near a war is it is always not very near Even when it is here 133 Stein had stopped translating Petain s speeches three years previously in 1941 Stein was able to condemn the Japanese attack at Pearl Harbor while simultaneously maintaining the dissonant acceptance of Hitler as conqueror of Europe 9 Journalist Lanning Warren interviewed Stein in her Paris apartment in a piece published in The New York Times Magazine on May 6 1934 Stein seemingly ironically proclaimed that Hitler merited the Nobel Peace Prize The Saxon element is always destined to be dominated The Germans have no gift at organizing They can only obey And obedience is not organization Organization comes from community of will as well as community of action And in America our democracy has been based on community of will and effort I say Hitler ought to have the peace prize because he is removing all elements of contest and struggle from Germany By driving out the Jews and the democratic Left elements he is driving out everything that conduces to activity That means peace 9 130 131 134 Given that after the war Stein commented that the only way to ensure world peace was to teach the Germans disobedience 135 this 1934 Stein interview has come to be interpreted as an ironic jest made by a practiced iconoclast hoping to gain attention and provoke controversy In an effort to correct popular mainstream misrepresentations of Stein s wartime activity a dossier of articles by critics and historians has been gathered for the online journal Jacket2 136 How much of Stein s wartime activities were motivated by the real exigencies of self preservation in a dangerous environment can only be speculated upon However her loyalty to Petain may have gone beyond expedience 131 136 She had been urged to leave France by American embassy officials friends and family when that possibility still existed but declined to do so In an essay written for the Atlantic Monthly in November 1940 Stein wrote about her decision not to leave France it would be awfully uncomfortable and I am fussy about my food Stein continued to praise Petain after the war ended this at a time when Petain had been sentenced to death by a French court for treason 9 Author Djuna Barnes provided a caustic assessment of Stein s book Wars I Have Seen You do not feel that she Stein is ever really worried about the sorrows of the people Her concerns at its highest pitch is a well fed apprehension 112 Others have argued that some of the accounts of Stein s war time activities have amounted to a witch hunt 137 Death editStein died on July 27 1946 at the age of 72 after surgery for stomach cancer at the American Hospital in Neuilly sur Seine near Paris 138 She was interred in Paris in Pere Lachaise Cemetery 139 Later Alice B Toklas was buried alongside her 140 Famously one version of her last moments reports that before having been taken into surgery Stein asked her partner Toklas What is the answer After Toklas replied to Stein that there was no answer Stein countered by sinking back into her bed murmuring Then there is no question 141 Her companion Toklas however has given two other versions of the encounter neither of which agrees with the canonical version above Writing in the June 2005 edition of The New Yorker Janet Malcolm describes On July 27 1946 Stein was operated on for what proved to be inoperable stomach cancer and died before coming out of anesthesia In What Is Remembered Toklas wrote of the troubled confused and very uncertain afternoon of the surgery I sat next to her and she said to me early in the afternoon What is the answer I was silent In that case she said what is the question However in a letter to Van Vechten ten years earlier Toklas had written About Baby s last words She said upon waking from a sleep What is the question And I didn t answer thinking she was not completely awakened Then she said again What is the question and before I could speak she went on If there is no question then there is no answer Stein s biographers have naturally selected the superior in that case what is the question version Strong narratives win out over weak ones when no obstacle of factuality stands in their way What Stein actually said remains unknown That Toklas cited the lesser version in a letter of 1953 is suggestive but not conclusive 142 Stein named writer and photographer Carl Van Vechten as her literary executor and he helped to publish works of hers that remained unpublished at the time of her death Critical reception editSherwood Anderson in his public introduction to Stein s 1922 publication of Geography and Plays wrote For me the work of Gertrude Stein consists in a rebuilding an entirely new recasting of life in the city of words Here is one artist who has been able to accept ridicule who has even forgone the privilege of writing the great American novel uplifting our English speaking stage and wearing the bays of the great poets to go live among the little housekeeping words the swaggering bullying street corner words the honest working money saving words and all the other forgotten and neglected citizens of the sacred and half forgotten city In a private letter to his brother Karl Anderson said As for Stein I do not think her too important I do think she had an important thing to do not for the public but for the artist who happens to work with words as his material 143 James Thurber wrote Anyone who reads at all diversely during these bizarre 1920s 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 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 August 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 144 The interesting writer is where there is an adversary a problem Why Stein is not finally a good or helpful writer There is no problem It s all affirmation A rose is a rose is a rose Susan Sontag from Journals and Notebooks 1964 1980 145 In his 1938 biographical novel The Green Fool Irish poet Patrick Kavanagh describes the works of Gertrude Stein fondly as being like whisky to me her strange rhythms broke up the cliche formation of my thought 146 Legacy and commemoration editStein has been the subject of many artistic works In Bryant Park in New York City there is cast replica of sculptor Jo Davidson s bronze bust of Stein The original created in 1923 is now in the collection of the Whitney Museum of American Art 147 Composers Florence Wickham and Marvin Schwartz used Stein s text for their operetta Look and Long 148 In 2005 playwright actor Jade Esteban Estrada portrayed Stein in the solo musical ICONS The Lesbian and Gay History of the World Vol 1 at Princeton University In 2006 theatre director actor Luiz Paetow created his solo Plays portraying Stein s 1934 homonymous lecture and toured Brazil for several years 149 Loving Repeating is a musical by Stephen Flaherty based on the writings of Gertrude Stein Stein and Toklas are both characters in the eight person show Stein is a central character in Nick Bertozzi s 2007 graphic novel The Salon The posthumously published Journals of Ayn Rand contain several highly hostile references to Stein From Rand s working notes for her novel The Fountainhead it is clear that the character Lois Cook in that book was intended as a caricature of Stein 150 Stein played by Bernard Cribbins and Toklas played by Wilfrid Brambell were depicted in the Swedish 1978 absurdist fiction film Picassos aventyr The Adventures of Picasso by director Tage Danielsson with Gosta Ekman as Picasso 151 Stein was portrayed in the 2011 Woody Allen film Midnight in Paris by Kathy Bates and by Tracee Chimo in the 2018 season of the television series Genius which focuses on the life and career of Pablo Picasso Waiting for the Moon a movie starring Linda Bassett that was released in 1987 152 The Young Indiana Jones Chronicles a TV series starring Alice Dvorakova that was released in 1993 153 Stein is added to a list of great artists and notables in the popular Broadway musical Rent in the song La Vie Boheme She is also mentioned in the Fred Astaire Ginger Rogers 1935 film Top Hat and in the song Roseability by the Scottish rock group Idlewild Composer Ricky Ian Gordon and librettist Royce Vavrek s opera 27 about Stein and Toklas premiered at Opera Theatre of St Louis in June 2014 with Stephanie Blythe as Stein 154 In 2014 Stein was one of the inaugural honorees in the Rainbow Honor Walk a walk of fame in San Francisco s Castro neighborhood noting LGBTQ people who have made significant contributions in their fields 155 156 157 Edward Einhorn wrote the play The Marriage of Alice B Toklas by Gertrude Stein a farce about their fantasy marriage that also told the story of their life It premiered in May 2017 at HERE Arts Center in New York 158 The 2018 artwork Words Doing As They Want to Do by Eve Fowler involved recording trans and lesbian Californians reading Stein s 1922 work called Miss Furr and Miss Skeene 159 The Gertrude Stein Society GSS at the Johns Hopkins University School of Medicine an organization for LGBTQ students at the Johns Hopkins Medical Institutions is named after her 160 Published works edit nbsp Wikisource has original works by or about Gertrude Stein Three Lives 1909 White Wines 1913 Tender Buttons Objects Food Rooms 1914 online at Bartleby An Exercise in Analysis 1917 A Circular Play 1920 Geography and Plays 1922 includes A List The Making of Americans Being a History of a Family s Progress written 1906 8 published 1925 Four Saints in Three Acts libretto 1929 music by Virgil Thomson 1934 Useful Knowledge 1929 An Acquaintance with Description 1929 Lucy Church Amiably 1930 First Edition published by Imprimerie Union in Paris The First American edition was published in 1969 by Something Press How to Write 1931 They must Be Wedded To Their Wife 1931 Operas and Plays 1932 Matisse Picasso and Gertrude Stein with Two Shorter Stories 1933 The Autobiography of Alice B Toklas 1933a Blood on the Dining Room Floor 1933b Portraits and Prayers 1934 Lectures in America 1935 The Geographical History of America or the Relation of Human Nature to the Human Mind 1936 Everybody s Autobiography 1937 Picasso photo Cecil Beaton 1938 Doctor Faustus Lights the Lights 1938 The World is Round UK edition illus Sir Francis Rose US edition illus Clement Hurd 1939 Paris France 1940 Ida A Novel 1941 Three Sisters Who Are Not Sisters 1943 Wars I Have Seen 1945a A la recherche d un jeune peintre Max Pol Fouchet ed 1945b Reflections on the Atomic Bomb 1946a Brewsie and Willie 1946b The Mother of Us All libretto 1946c music by Virgil Thompson 1947 Gertrude Stein on Picasso 1946d Four in America 1947 Mrs Reynolds 1947 Last Operas and Plays Carl van Vechten ed 1949 The Things as They Are written as Q E D in 1903 published 1950 Patriarchal Poetry 1953 Alphabets and Birthdays 1957 Fernhurst Q E D and Other Early Writings 1971 Stein Gertrude van Vechten Carl 1986 Burns Edward ed The Letters of Gertrude Stein and Carl Van Vechten 1913 1946 New York Columbia University Press ISBN 978 0 231 06308 1 Stein Gertrude Wilder Thornton 1996 Burns Edward Dydo Ulla eds The Letters of Gertrude Stein and Thornton Wilder Yale University Press ISBN 978 0 300 06774 3 Stein Gertrude 1998a Chessman Harriet Stimpson Catharine R eds Writings 1903 1932 Library of America ISBN 978 1 883011 40 6 1998b Chessman Harriet Stimpson Catharine R eds Writings 1932 1946 Library of America ISBN 978 1 883011 41 3 Toklas Alice 1973 Burns Edward ed Staying on Alone Letters New York Liveright ISBN 978 0 87140 569 2 Grahn Judy ed 1989 Really Reading Gertrude Stein A Selected Anthology with Essays by Judy Grahn Crossing Press ISBN 978 0 89594 380 4 Vechten Carl Van ed 1990 Selected Writings of Gertrude Stein ISBN 0 679 72464 8In the media editParis Was a Woman 1996 documentary 161 See also edit nbsp Biography portal nbsp LGBT portalLesbian poetryRelated exhibits editThe Steins Collect Matisse Picasso and the Parisian Avant Garde The Metropolitan Museum of Art June 3 2012 The Steins Collect Matisse Picasso and the Parisian Avant Garde San Francisco Museum of Modern Art September 6 2011 archived from the original on June 24 2011 retrieved June 25 2011 Seeing Gertrude Stein five stories Washington D C The National Portrait Gallery Smithsonian Institution January 22 2012 Seeing Gertrude Stein five stories San Francisco Contemporary Jewish Museum September 6 2011 archived from the original on July 28 2011 Four Saints in Three Acts Four live presentations of a new production San Francisco Yerba Buena Center for the Arts August 18 21 2011 archived from the original on March 21 2012 retrieved July 4 2011 Picasso Masterpieces from the Musee National Picasso Paris San Francisco M H de Young Memorial Museum October 9 2011 archived from the original on June 28 2011 retrieved July 4 2011 Riba Rovira Galeria Muro Homenage for Gertrude Stein 2012 Valencia ESReferences edit Gertrude Stein s Oakland HuffPost May 31 2012 Retrieved January 16 2024 a b Pound Cath July 26 2021 The shocking memoir of the lost generation BBC Retrieved March 5 2023 Haas Brenda July 26 2021 Gertrude Stein A complex pioneer of modernism Deutsche Welle Retrieved March 5 2023 a b c Extravagant Crowd Gertrude Stein and Alice B Toklas Retrieved October 16 2012 Mellow James R May 3 1998 The Stein Salon Was The First Museum of Modern Art The New York Times Retrieved October 13 2012 Fritz Monade August 23 2013 Natias Neutert about Gertrude Stein s Rose www youtube com Gertrude Stein s Oakland HuffPost May 31 2012 Retrieved January 16 2024 Barbara Will HUMANITIES March April 2012 Volume 33 Number 2 The Strange Politics of Gertrude Stein a b c d e f g Will Barbara March April 2012 The Strange Politics of Gertrude Stein Humanities 33 2 Retrieved October 14 2012 Gertrude Stein house a b Wagner Martin Linda Stein s Life and Career www english illinois edu Archived from the original on December 28 2015 Retrieved February 27 2016 a b c d e f g James Edward T 1974 Notable American Women 1607 1950 A Biographical Dictionary Cambridge Massachusetts The Belknap Press of Harvard University Press p 356 ISBN 978 0 674 62731 4 Giroud Vincent Miller Eric 2006 Picasso and Gertrude Stein Metropolitan Museum of Art ISBN 9781588392107 a b Ojala Jeanne A Stein Gertrude 1874 1946 Encyclopedia com Retrieved September 1 2021 Jeanne A Ojala Professor Emerita Department of History University of Utah Salt Lake City Utah a b c Gertrude Stein at Radcliffe Most Brilliant Women Student The Harvard Crimson Archived from the original on April 16 2018 Retrieved March 1 2018 a b c d e Lubow Arthur An Eye for Genius The Collections of Gertrude and Leo Stein Smithsonian Magazine Retrieved October 17 2012 Rosenbaum 1987 p 21 Gertrude Stein s Oakland HuffPost May 31 2012 Retrieved January 16 2024 Gertrude Stein s Oakland HuffPost May 31 2012 Retrieved January 16 2024 a b Simon Linda Gertrude Stein Jewish Women Encyclopedia Retrieved October 17 2012 a b Mellow 1974 pp 25 28 David Bachrach House Baltimore City Maryland Historical Trust November 21 2008 Mellow 1974 pp 41 42 Gertrude Stein Life and Legacy The Art Story Retrieved September 1 2021 The Art Story FOUNDATION 253 West 73rd Street Suite 13H New York NY Has Gertrude Stein a Secret Cumulative Record 3rd ed New York Appleton Century Crofts 1972 359 69 Meyer 2001 The Unknown Gertrude Hopkins Medical News archived from the original on October 17 2007 retrieved December 8 2018 a b c Gertrude Stein 1874 1846 Retrieved October 16 2012 a b c Rudacille Deborah Baltimore Blues Style Magazine Archived from the original on May 28 2012 Retrieved October 17 2012 Mellow 1974 pp 43 52 Gauguin Sunflowers painting The Hermitage Museum Gauguin Three Tahitians painting Scotland UK National Galleries Cezanne Bathers Baltimore holdings Cone Collection archived from the original painting on April 7 2017 retrieved February 28 2017 Mellow 1974 p 62 Gertrude seated near sculpture and Cezanne s Bathers 1903 04 Archived August 5 2008 at the Library of Congress Web Archives The MoMA catalog dates photo at 1905 MoMA 1970 p 53 and places Bathers 1895 in the Cone Collection Archived December 22 2007 at the Wayback Machine Baltimore 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 This painting is now at the San Francisco Museum of Modern Art 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 Portrait of Gertrude Stein 1905 by Pablo Picasso www pablopicasso org Retrieved March 5 2023 Gertrude Stein 1905 06 MET Museum Retrieved December 2 2020 a b Mellow 1974 p 193 Museum of Modern Art 1970 pp 88 89 provides detailed black and white images of the paintings on the wall 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 Cone Collection Baltimore Museum of Art June 26 1903 Archived from the original on October 19 2014 Retrieved December 29 2011 MoMA 1970 p 28 Mellow 1974 pp 207 8 An image of the Cezanne apples appears in MoMA 1970 plate 19 Glueck Grace December 13 1970 The Family Knew What It Liked The New York Times Retrieved March 30 2021 a b c MoMA 1970 Linda Wagner Martin 1995 Favored Strangers Gertrude Stein and Her Family New Brunswick N J Rutgers University Press p 67 ISBN 978 0 8135 2474 0 Gertrude Stein A la recherche d un jeune peintre revue Fontaine no 42 pp 287 288 1945 Gertrude Stein Looking for a young painter Riba Rovira Yale University U S A Atlas James July 10 1977 Alice Entertained the Wives The New York Times ISSN 0362 4331 Retrieved July 11 2021 Mellow 1974 p 84 Mellow 1974 pp 94 95 Meyers Jeffrey Hemingway A Biography Macmillan New York 1985 ISBN 978 0 333 42126 0 Mellow 1974 pp 273 4 Stein Gertrude Tender Buttons Objects poets org Retrieved December 24 2021 Stein Gertrude A Substance in a Cushion Poetry Foundation Retrieved December 24 2021 Author Author by Doris Schneider New York Evening Post November 6 1933 Batoreo Hanna 2010 Was the birth of modern art psycholinguistically minded PDF Studies in the Psychology of Language and Communication matrix 149 164 ISBN 978 83 932212 0 2 Grahn 1989 p 8 Stein Gertrude Autobiography of Alice B Toklas PDF Toronto Ryerson University p 162 Retrieved August 8 2021 Grahn 1989 p 18 Grahn 1989 p 21 Neuman S C 1979 Gertrude Stein Autobiography and the Problem of Narration Victoria B C English Literary Studies Dept of English University of Victoria Wannamaker Robert 2021 The Music of James Tenney Volume 2 A Handbook to the Pieces University of Illinois Press pp 81 84 Portrait of Gertrude Stein Metropolitan Museum retrieved November 26 2008 a b Mellow 1974 p 170 a b c d e f When Gertrude Stein Toured America October 14 2011 Retrieved October 21 2012 Morris Roy 2019 Gertrude Stein Has Arrived The Homecoming of a Literary Legend Baltimore Johns Hopkins University Press pp 6 7 Jaillant 2015 Mellow 1974 pp 53 58 Baughman Judith Gertrude Stein Biography in Context Gale Retrieved February 5 2017 a b Blackmer 1995 pp 681 6 Mellow 1974 pp 65 8 a b Mellow 1974 67 Mellow 1974 pp 67 8 Mellow 1974 p 68 Mellow 1974 p 71 Mellow 1974 p 77 Mellow 1974 pp 114 22 a b Mellow 1974 p 122 Moore George B Gertrude Stein s The Making of Americans Repetition and the Emergence of Modernism Washington D C Peter Lang 1998 Rainey Lawrence Book Review of The Making of Americans Modernism Modernity 4 2 1997 222 24 Stein Gertrude The Making of Americans Normal Illinois Dalkey Archive Press 1995 a b Kellner 1988 p 266 Mellow 1974 p 129 Mellow 1974 pp 154 5 157 8 Kellner 1988 pp 34 5 56 7 The Matisse and Picasso portraits were reprinted in MoMA 1970 pp 99 102 Kellner 1988 pp 61 62 a b c Mellow 1974 p 178 a b Perloff Marjorie 2000 The Difference is Spreading on Gertrude Stein Archived from the original on October 11 2012 Retrieved September 30 2012 Conrad Bryce 1995 Gertrude Stein in the American Marketplace Journal of Modern Literature 19 2 215 Brandel Darcy L 2008 The Case of Gertrude Stein and the Genius of Collaboration Women s Studies 37 4 371 doi 10 1080 00497870802049987 S2CID 143552451 Alice Babette Toklas Jewish Women s Archive Retrieved March 5 2023 Braque Georges February 1935 Testimony against Gertrude Stein Transition supplemental pamphlet 13 14 Four in America Kirkus Reviews Linzie Anna 2006 The True Story of Alice B Toklas A Study of Three Autobiographies University of Iowa Press pp 1 67 146 ISBN 978 0 87745 985 9 Mellow 1974 p 107 Mellow 1974 pp 107 8 Liukkonen Petri Alice B Toklas Books and Writers kirjasto sci fi Finland Kuusankoski Public Library Archived from the original on September 14 2007 Mellow 1974 pp 149 51 Mellow 1974 p 149 Mellow 1974 p 209 Mellow 1974 pp 210 5 Woman with a Hat Yale Collection archived from the original JPEG on September 26 2007 Mellow 1974 pp 218 6 Mellow 1974 pp 225 6 Mellow 1974 pp 226 7 a b c Benfey Christopher June 28 2012 The Alibi of Ambiguity The New Republic Retrieved October 18 2012 Ramsay Tamara Ann 1998 Discursive departures A reading paradigm affiliated with feminist lesbian aesthetic and queer practices with reference to Woolf Stein and H D Thesis Wilfrid Laurier University Retrieved March 30 2021 a b Grahn 1989 a b c d e Blackmer 1995 Natias Neutert about Gertrude Stein s Rose YouTube August 12 2013 Retrieved March 30 2021 Stefan Metaal No There there Members chello nl Retrieved December 4 2013 a b Beplate Justin January 2 2008 Gertrude and Alice The Times London Retrieved May 3 2010 Stein Herbert February 7 1997 The Cubist Republican Slate com Archived from the original on June 5 2011 Retrieved October 29 2012 Roiphe Katie September 23 2007 Portrait of a Marriage The New York Times Archived from the original on December 9 2008 Retrieved March 30 2021 Joan Rettalack Introduction to Stein Selections University of California Press 2008 Messerli Douglas June 23 2008 Douglas Messerli Thirteen Ways of Looking at a Stone on Janet Malcolm s Two Lives exploringfictions blogspot com Archived from the original on April 24 2014 Retrieved October 29 2012 WARREN LANSING May 6 1934 Gertrude Stein Views Life and Politics The New York Times Retrieved August 1 2014 Modernism modernity Lost in Translation Stein s Vichy Collaboration Project MUSE JHU Retrieved December 29 2011 Ali Tariq December 7 2002 The ignoble Nobel The Guardian London Stendhal Renate December 17 2011 Was Gertrude Stein a collaborator LA Review of Books archived from the original on July 11 2012 Stendhal Renate January 18 2012 The obscene critic Scene4 Magazine archived from the original web log on March 24 2012 retrieved March 27 2012 Herschthal Eric April 24 2012 Gertrude Stein Why Her Fascist Politics Matter The Jewish Week Archived from the original on May 22 2018 Retrieved October 14 2012 Christopher Sawyer Laucanno Courage to Be Courageous The Last Works and Days of Gertrude Stein from The Continual Pilgrimage American Writers in Paris 1944 1960Grove Presm 1992 a b Greenhouse Emily June 8 2012 Why Won t The Met Tell The Whole Truth About Gertrude Stein The New Yorker Retrieved October 14 2012 a b c Kimmelman Michael April 26 2012 Missionaries The New York Review of Books Dershowitz Alan May 21 2012 Suppressing Ugly Truths from Beautiful Art The Huffington Post Retrieved October 14 2012 Gertrude Stein Wars I Have Seen London B T Batsford 1945 4 5 Lansing Warren May 6 1934 Gertrude Stein Views Life and Politics The New York Times Retrieved December 4 2013 Gertrude Stein taunts Hitler in 1934 and 1945 Jacket2 Archived from the original on October 23 2013 Retrieved December 4 2013 a b Gertrude Stein s war years Setting the record straight Jacket2 Archived from the original on December 23 2013 Retrieved December 4 2013 Stendhal Renate June 4 2012 Why the Witch Hunt Against Gertrude Stein tikkun org Archived from the original on April 24 2014 Retrieved April 24 2014 Hazel Rowley Richard Wright The Life and Times p 343 Plan du cimetiere du Pere Lachaise Un Jour de plus a Paris October 23 2012 Archived from the original on February 12 2017 Retrieved March 30 2021 Wilson Scott Resting Places The Burial Sites of More Than 14 000 Famous Persons 3d ed 2 Kindle Locations 44876 44877 McFarland amp Company Inc Publishers Kindle Edition Jonathan Z Smith see idem When the Bough Breaks History of Religions 12 4 May 1973 342 Malcolm Janet Someone Says Yes to It The New Yorker 81 17 June 13 2005 148 Mellow 1974 p 260 Thurber James Rosen Michael ed Collecting Himself Sontag 2012 P 398 Kavanagh Patrick 1975 The Green Fool Harmondsworth Middlesex England Penguin Books p 244 ISBN 0 14 004005 6 A Walking Tour of Bryant Park Monuments Wayback Machine Archive Archived from the original on July 1 2014 Retrieved July 17 2021 After Dinner Opera Company Past Productions www afterdinneropera org Archived from the original on February 28 2021 Retrieved April 26 2022 Pecas are Plays in Portuguese uol Mayhew Robert ed 2007 Humor in The Fountainhead Essays on Ayn Rand s The Fountainhead Lanham Md u a Lexington Books p 217 ISBN 978 0 7391 1578 7 The Adventures of Picasso IMDb Internet Movie Database May 20 1978 Retrieved February 10 2015 Waiting for the Moon June 15 1987 via IMDb Paris September 1908 February 21 1993 via IMDb OperaWatch Opera News Retrieved December 4 2013 Shelter Scott March 14 2016 The Rainbow Honor Walk San Francisco s LGBT Walk of Fame Quirky Travel Guy Retrieved July 28 2019 Castro s Rainbow Honor Walk Dedicated Today SFist SFist San Francisco News Restaurants Events amp Sports September 2 2014 Archived from the original on August 10 2019 Retrieved August 13 2019 Carnivele Gary July 2 2016 Second LGBT Honorees Selected for San Francisco s Rainbow Honor Walk We The People Retrieved August 12 2019 Love Genius and The Marriage of Alice B Toklas by Gertrude Stein The New York Times Retrieved May 14 2017 Quinn Bridget May 29 2019 Spotlighting Lesbian Artists as Central Players in California s Queer History Hyperallergic Archived from the original on May 29 2019 Retrieved August 16 2021 LGBT Community at JHUSOM Johns Hopkins Medicine Retrieved August 16 2021 Paris Was a Woman November 8 1996 via IMDb Works cited edit Behrens Roy R Cook Book Gertrude Stein William Cook and Le Corbusier Dysart Iowa Bobolink Books 2005 ISBN 0 9713244 1 7 Blackmer Corrine E 1995 Gertrude Stein in Claude J Summers ed The Gay and Lesbian Literary Heritage New York H Holt ISBN 978 0 8050 5009 7 Bowers Jane Palatini 1991 They Watch Me as They Watch This Gertrude Stein s Metadrama Philadelphia University of Pennsylvania Press ISBN 0 8122 3057 4 Dean Gabrielle April 2008 Grid Games Gertrude Stein s Diagrams and Detectives Modernism modernity JHU 15 2 317 41 doi 10 1353 mod 2008 0031 S2CID 143340192 Grahn Judy 1989 Really Reading Gertrude Stein A Selected Anthology with essays by Judy Grahn Freedom California The Crossing Press ISBN 0 89594 380 8 Hobhouse Janet Everybody Who Was Anybody A Biography of Gertrude Stein New York G P Putnam s Sons 1975 ISBN 978 1 199 83299 3 Kellner Bruce ed 1988 A Gertrude Stein Companion Content with the Example New York Westport Connecticut London Greenwood Press ISBN 978 0 313 25078 1 Jaillant Lise 2015 Shucks we ve got glamour girls too Gertrude Stein Bennett Cerf and the Culture of Celebrity Journal of Modern Literature 39 1 149 169 doi 10 2979 jmodelite 39 1 149 S2CID 162809458 Malcolm Janet Two Lives Gertrude and Alice London Yale University Press 2007 ISBN 978 0 300 12551 1 Malcolm Janet Gertrude Stein s War The New Yorker June 2 2003 pp 58 81 Malcolm Janet June 13 2005 Someone Says Yes to It Gertrude Stein Alice B Toklas and The Making of the Americans The New Yorker pp 148 165 Malcolm Janet Strangers in Paradise The New Yorker November 13 2006 pp 54 61 Mellow James R 1974 Charmed Circle Gertrude Stein amp Company New York Washington Praeger Publishers ISBN 978 0 395 47982 7 Meyer Steven 2001 Irresistible Dictation Gertrude Stein and the Correlations of Writing and Science Stanford Stanford University Press Perelman Bob The Trouble with Genius Reading Pound Joyce Stein and Zukofsky Berkeley California University of California Press 1994 Rosenbaum Fred 1987 San Francisco Oakland The Native Son in Brinner William M Rischin Moses eds Like All the Nations The Life and Legacy of Judah L Magnes State University of New York Press ISBN 978 0 88706 507 1 The Museum of Modern Art New York 1970 Four Americans in Paris The Collections of Gertrude Stein and Her Family New York The Museum of Modern Art ISBN 978 0 07 810067 3 Ryan Betsy Alayne 1984 Gertrude Stein s Theatre of the Absolute Theater and Dramatic Studies Ser 21 Ann Arbor and London UMI Research Press ISBN 0 8357 2021 7 Stendhal Renate ed 1989 Gertrude Stein In Words and Pictures A Photobiography Chapel Hill Algonquin Books ISBN 978 0 945575 99 3 Sontag Susan 2012 A Consciousness is Harnessed to Flesh Journals and Notebooks 1964 1980 Farrar Straus Giroux Publishers New York ISBN 978 0 374 10076 6 Truong Monique The book of salt Boston Houghton Mifflin Company 2003 A novel about a young Vietnamese cook who worked in Stein s Montparnasse household External links edit nbsp Look up there is no there there in Wiktionary the free dictionary Gertrude Stein at Wikipedia s sister projects nbsp Media from Commons nbsp News from Wikinews nbsp Quotations from Wikiquote nbsp Texts from Wikisource nbsp Textbooks from Wikibooks nbsp Resources from Wikiversity nbsp Wikiquote has quotations related to Gertrude Stein Works by Gertrude Stein in eBook form at Standard Ebooks Works by Gertrude Stein at Project Gutenberg Works by or about Gertrude Stein at Internet Archive Works by Gertrude Stein at LibriVox public domain audiobooks nbsp Gertrude Stein and Alice B Toklas Collection at the Beinecke Rare Book and Manuscript Library Gertrude Stein and Alice B Toklas Papers at the Beinecke Rare Book and Manuscript Library Gertrude Stein Papers at the Harry Ransom Center Gertrude Stein and Her Circle papers at the University of Maryland libraries Three Lives American Studies at the University of Virginia archived from the original on November 13 2009 retrieved October 6 2009 Complete authorized audio recordings at PennSound archived from the original on July 4 2013 retrieved July 7 2013 Allegheny City Deutschtown Pittsburgh Pennsylvania PBase archived from the original birth placard on January 26 2009 retrieved August 4 2007 Stein Gertrude What is a masterpiece Z Smith Reynolds Library Wake Forest University archived from the original manuscript on February 16 2011 retrieved February 17 2011 van Vechten Carl Gertrude Stein archived from the original photographic portraits on December 15 2018 retrieved September 27 2019 Williams William Carlos The Work of Gertrude Stein Center for book culture archived from the original on August 3 2004 Four Saints in Three Acts Music of the United States of America MUSA archived from the original on September 1 2014 retrieved August 16 2013 The World of Gertrude Stein Ellen s Place archived from the original on June 4 2003 Gertrude Stein Infography archived from the original on November 18 2010 retrieved November 10 2009 Gertrude Stein Ubu archived from the original on February 22 2004 retrieved March 8 2004 featuring a reading of If I Told Him A Completed Portrait of Picasso and A Valentine to Sherwood Anderson Gertrude Stein Gradually readings from Autobiography of Alice B Toklas Bee Time Vine and more Includes excerpts from Patriarchal Poetry and layered voice readings The Steins Collect Matisse Picasso and the Parisian Avant Garde at the Metropolitan Museum of Art NYC Arts April 2 2009 archived from the original profile on April 15 2013 Gertrude Stein Reads from The Making of Americans a rare recording made in 1934 and 1935Awards and achievementsPreceded byJack Crawford Cover of Time magazineSeptember 11 1933 Succeeded byGeorge F Zook Retrieved from https en wikipedia org w index php title Gertrude Stein amp oldid 1203961033, wikipedia, wiki, book, books, library,

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