"Portrait of Gertrude Stein" (Portrait de Gertrude Stein) (1905-1906). "Portrait of Gertrude Stein" (Portrait de Gertrude Stein) (1905-1906) Salon of Leo and Hertha

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Title, english: Gertrude Stein.
original name: Portrait de Gertrude Stein.
Year of ending: 1905-1906.
Dimensions: 100 × 81.3 cm.
Technique: Oil on canvas.
Location: New York, Metropolitan Museum of Art

Before us is one of the many works of Picasso - a portrait of "Gertrude Stein". But before undertaking an analysis of the work, it is not unimportant to understand the background of its creation, because it is not for nothing that it is considered one of the most dramatic short stories in the history of the creative searches of the century. Portraying the famous American writer, Picasso was on the way to the next new period in his work and a whole trend in painting. “I depict the world not as I see it, but as I imagine it,” said the artist. At this time, he already obviously realized that he was going further than others in activities - destructive as well as creative. The form that the artist now creates becomes an independent structure that exists according to its own laws; it does not reflect the directly perceived appearance of things, but, as it were, recreates their plastic structure. The forms created by the artist himself come to replace them. Picasso is freed from the inspiration of the harlequin period, the Spanish part of his being again took over - the themes of the canvases begin to change, young men and riders come to replace circus artists against the backdrop of bucolic landscapes. Picasso needed confirmation of his work in the general flow of world culture, he needed new impressions to enrich his creative energy. As a result of these searches, in 1905-1906 the artist devotes a lot of time to the study of antiquities, visits expositions of classical and ancient art, he is increasingly interested in African masks, sculptures - he considered them endowed with magical powers and found in them a sensual simplicity of forms. This was a turning point in his work, and from here began the path of Picasso from the image of specific people to the image of a person as such, and to form - as an independent structure. The open, almost lacy style, which always has a lot of air around, is replaced by either more compressed contours, or single sculptural masses that become more squat, with filled rounded corners, they pile on top of each other. At this turning point, Picasso paints a portrait of "Gertrude Stein" - his last attempt to work, obeying nature, the final version of which determines the "African" influence. The artist took a different path.

Important for Picasso during this period was the acquaintance with Gertrude Stein. She came to Paris to live with her older brother Leo in 1903, when she was almost thirty. Leo Stein, a connoisseur and collector, introduced Parisian art to Gertrude, they organized a salon business and devoted their lives to collecting works of art. In America, the Steins were considered wealthy, but not rich people, therefore, when they began to collect paintings by their contemporaries, they allowed themselves only inexpensive, budding artists.

After Stein purchased several of Picasso's works, she met him personally through an intermediary merchant named Clavis Sago. Since then, the American has become a faithful patron of Picasso for a long time, and he is a regular visitor to her salon, and eventually to her personal Parisian home. Their relationship developed especially intensively during the first few years after they met. Pablo immediately, obeying a certain instinct, became interested in her - Gertrude, like no one before, influenced him. The weekly gatherings she hosted became a magnet for European and American artists and writers. Some of the visitors were young experimental painters whose work the Stines collected. In these salons, artists, writers, musicians, collectors and critics interested in progressive art and ideas could meet to talk. It was a meeting for intellectual discussion and debate, and as the number of visitors and the frequency of evenings in the salon increased, the friendship between Stein and Picasso blossomed and soon this non-trivial woman became his close friend. And although the American, in all likelihood, did not fully understand the somewhat gloomy and withdrawn nature of the artist, as well as comprehend the many-sided significance of his work, she was fascinated by the genius of Picasso and the radiant blackness of his eyes. She became more and more confident in his genius. Although her brother Leo was an Impressionist, her taste in art became more experimental, and she became the first major Cubist collector. Stein claimed that she and Picasso worked in a parallel direction - one in colors, the other in prose, improving and enhancing their own result, transforming reality. Perhaps she felt closer to Picasso than he did to her.

Picasso, shortly after they met, offered to paint a portrait of Mademoiselle Stein, without even counting on consent. If you go into details, then in fact, Picasso became shy and asked Clavis Sago to find out from Gertrude if she would agree to pose, and soon she agreed. From the very first meeting, he wanted to portray this big beautiful head in his own manner. Stein posed for him all winter, according to some sources this figure ranges from eighty to ninety times, in any case this is a significant figure. This was somewhat strange, because the artist painted quickly and did not need models. Nobody has posed for Picasso since he was sixteen, and then he was already twenty-four, and Gertrude Stein never even thought of commissioning her portrait, and neither of them even have the slightest idea how it happened. The circus people who filled his paintings at that time lived nearby, but Picasso never thought of asking these people to come to his studio to pose. This habit of writing from memory markedly distinguished him from among painters. Some of them accused the Spaniard of extravagance, others of causing unemployment among sitters. Perhaps Picasso simply enjoyed being with Stein, who explained to him in detail the nature of his genius.

Gertrude walked day after day up the steep hills from Montparnasse to Picasso's studio to pose for him. It was a small room, with a couch in one corner, a tiny stove for heating and cooking in another, a few chairs, one large broken chair on which Stein sat, a bulky easel and an excessive amount of canvases that smelled of dog. Picasso would sit in his chair next to the canvas, use a monotonous gray-brown palette, and begin to create. Fernanda Olivier participated in the creative process - his passion at that time, she was a rather large woman, but at the same time very beautiful and sweet. Often she entertained Gertrude by reading Lafontaine's fables aloud, creating a mood. On the first day of posing, in the late afternoon, two brothers and friends of Gertrude Stein stopped by to see how things were going - the initial sketch turned out to be breathtaking. The sketch was so good that everyone begged Picasso to leave it as it is, not to change anything, but he irritably disagrees and stubbornly continues to work. It’s a pity, but in those days it didn’t even occur to anyone to take a picture of the picture in its initial version.

The difficulties Picasso experienced in the course of this work were not typical: eighty or ninety sittings of posing were not the principle of his work. Stein's strong personality may have been a factor in dragging out the process, but no one can escape the feeling of unusual struggle and developmental difficulty that characterizes the completed portrait. The original depiction of Stein's head was almost in profile. Gradually, step by step, he rotated it until he stopped at the final position, more frontal. There are no known preliminary drawings of Gertrude, and it seems that Picasso experimented with several possibilities already on the canvas itself. However, despite the fact that the portrait, to the great pleasure of the writer, was becoming more and more similar, it did not satisfy the artist himself, and the work did not actually get off the ground - nothing changed in the picture, except for the face. Picasso added something to the portrait, then destroyed something, painted again and painted over again. He was looking for something that he himself could not define.

The spring of 1906 came and the seats came to their momentous end - suddenly Picasso sketched the whole head. “I look at you and see nothing else, I am no longer able to see you,” he said irritably. This is how the painting ended. No one, I remember, was particularly annoyed that this long sitting was over. Gertrude Stein and her brother went to Italy, which at that time had already become a habit with them. With Fernanda, Picasso went to Spain, where he again changes his style - he paints more soothingly, almost in one color, the figures become more sculptural, the faces seem motionless and mask-like, like strict archaic Iberian statues and frescoes of the Catalan Romanesque chapel. An important step has been taken and it directly leads the artist to a new “African” period. Returning at the end of the summer from Spain to Bateau Lavoir, Picasso finally finishes the face of Gertrude in the manner in which he usually worked: quickly and from memory (without even looking at his model), giving the appearance the character of a mask: a luminous, protruding forehead and impersonal, schematic, regular facial features. The work was completed and he was pleased with the result. Seeing the final version, Gertrude Stein was perplexed, it seemed to her that "the resemblance was gone", she considered herself too young to be similar to him. “Nothing,” Picasso replied cheerfully, “someday you will be like him, in time.” Still, the first impression was not positive, she was unhappy that after many hours of posing there was no unity, but she gratefully accepted the job. Others, shocked by the mask-like severity of the face in the portrait, were more critical. No one thought that the portrait had a consonance with her. Later, after a while, Picasso's prophecy was fulfilled that in the end she would be able to look exactly the same as in the portrait - the similarity came with time, she caught up with her portrait when she aged two world wars. In her book, she spoke in such a way in the direction of work: “In my opinion, this is me, and this is the only image of me where I am always me.” For Stein, this painting will be proof of her irrevocable connection with Picasso, whom she regards as the greatest artist of her time. It's like a collaboration between two nascent giants: a twenty-four year old Spanish painter and a thirty-two year old American writer, two settlers in Paris, as yet unrecognized but destined for greatness.

As for the picture itself, an interesting image is created: the portrait, in front of the viewer, begins to decompose into separate parts, which in turn form a complex three-dimensional composition. This is the result of Picasso's appeal not so much to the real appearance of the person depicted, but to his mind's eye and understanding - all this portends cubism, a new direction in painting, in which the artist will begin to work some time later. Picasso was distracted from the appearance of the person portrayed, the face of the depicted resembles the faces of ancient statues, with the same almost empty eye sockets as they have, because of which Stein seems to be looking from within herself, all-seeing, as if a mask covers her face. "You can't get through here" - this is the whole phrase of her appearance. Since each canvas of a real artist is an autobiography of his inner path, the portrait of "Gertrude Stein" shows what dangerous areas of the "inner city" of European culture the artist penetrated during these nine months of intense contemplation of her appearance. Picasso's painting depicts the whole history, the whole essence of Gertrude, her past and future. He depicted her in a characteristic pose, the massiveness of the silhouette rather enhanced by a loose coat with wide sleeves, large hands lying on her knees, a torso slightly tilted forward; she is full of attention and interest. Outwardly, Gertrude, without even realizing it, looked like a very eccentric person. Her squat, weighty figure and regular features, through which a remarkable mind shone through - all this, coupled with a male voice, revealed in her a strong personality. The artist accurately conveyed her whole character and, trying to display on the canvas that Gertrude that would satisfy him, he tried a lot of options. Basically, he tries to solve the mystery of Miss Stein; tries to open the veil that hides her essence, and if he succeeds, then much more will open before him. This increased Picasso's conviction that she was the creation of the depths and that she would help him penetrate those depths. Her face is a mask that strikes the imagination, black deformed eyes - blind or rather deep looking, which is a hint of the power living in her. Thus the face is depicted as large, stern, spiky and motionless, while the hands and the rest of the painting seem passive and painted in softer colors. The face, hands and scarf shine in the picture and create spatial tension. The magnificent warm red-brown tone of the background enlivens the asymmetry of the seated person in the picture. The rejection of realistic detail becomes especially visible in a completely untreated ear. Her existence in the portrait is so active that this picture is impossible to forget. Yes, she is fully represented in the portrait to make it unforgettable. As a result, the work differs somewhat from the original, but the author was able to put a special meaning into it, the character of Gertrude. The features of the model are distorted, but she radiates powerful energy, she is overweight, imperious, it seems that the writer is about to quickly get up and find herself outside the canvas. The strange asymmetry of the eyes makes this strong-willed, unfeminine face restlessly nervous, forcing one to guess about the hidden, perhaps painful, disharmony of the soul. The whole figure of Gertrude Stein is filled with heavy seriousness, and it is difficult to say what feelings the artist expressed in the portrait - whether sympathy, or hostility. And barely noticeable signs of external and internal dissonance will turn into a frank challenge to the classical ideal of female beauty. The expression of reflection, together with a distinct intellect and mental concentration, is the predominant feature in the portrait. Picasso depicted her path. She does not hold a fan or a flower in her hands, does not wear an unusual hat, does not lift her head with feminine charm, she simply leans forward, presenting only herself. With this innovative portrait, he frees himself from the boundaries of classical painting, and at the same time breaks Stein, freeing her from traditional limitations. The portrait of "Gertrude Stein" marks the moment in Pablo Picasso's life when he studied the deep eyes of an American artist - and perhaps found for himself the answer to the question of what it is like to be an American.

As proof of her gratitude to Picasso, Gertrude Stein did not part with this portrait all her life, and in 1946 bequeathed it to the Metropolitan Museum of Art, New York, USA. It was the first work of the artist, which was included in the museum's collection. It now houses the richest collection of Picasso's works - the second largest in the United States. This canvas hangs there as proof of how keenly and deeply Picasso is able to see through the eyes of his imagination, rather than when he was face to face with an object.

Gertrude Stein went down in history as an innovator and literary revolutionary. This woman carried the idea of ​​freedom from social norms throughout her life, creating her own. Contemporaries openly slandered her and scolded her for her rebellious disposition. But today Gertrude Stein is a model of progressive thought and a pioneer of modernism. Who is she and what role did she play in the history of contemporary art?

Biography

On February 3, 1874, a girl was born in the small American town of Allegheny. She came from a wealthy Jewish family and was the second child. Her father was successfully engaged in construction and real estate trade and soon amassed a decent capital, which the children had enough for the rest of their lives.

The girl was named Gertrude. From a young age, she showed herself as a curious child, studied well at school and, at the direction of her father, entered college, where she studied psychology and medicine. However, all this was alien to her, and relations with her father were tense. Having spent her childhood between two cultural capitals - Paris and Vienna, Gertrude Stein immediately felt a craving for beauty.

The conflict has exhausted itself with the death of parents. Gertrude and her older brother Leo were orphaned at an early age. First, their mother passed away from cancer, then their father also died. Now the young Steins, with a huge inheritance and a steady income from the family business, were left to fend for themselves.

Leo moved to Paris, where he rented a small apartment at 27 Rue Fleurus. Soon, leaving school, his sister also moved in with him. It was from this moment that the stormy creative life of Gertrude began.

The cozy home of the Steins soon turned into a bohemian haven. Leo was an art critic and was engaged in buying and collecting paintings by talented, but not yet recognized artists working in a new direction (cubism).

Gertrude Stein in the circle of the Parisian intelligentsia could boast of a high aesthetic taste and flair. She was educated, smart and at the same time sharp-tongued, so her opinion was not only listened to, but sometimes they were afraid of her. She inspired and supported many aspiring artists and writers and gathered a real creative circle around her. Despite such public employment, Gertrude devoted time to her own writing genius, although she was not immediately appreciated by critics.

Eternal sweetheart

About the personal life of a freedom-loving American woman, it is known for sure that she preferred female society. She had many male friends, but her heart belonged only to Alice Toklas. They met in 1907 and have been inseparable ever since. Alice traveled around Europe and decided to meet her compatriot in Paris. The meeting turned out to be fateful. All Paris was gossiping about their relationship. It was an open challenge to society. The couple were inseparable until Gertrude's death.

Grand mother of modernism

In literature, Stein is known as an innovator. She did not think about the lightness of style and always experimented with texts. Like her artist friend Picasso, Gertrude Stein cared more about form than about content. She was one of the first in the history of literature to use the stream of consciousness technique without punctuation marks in the narrative. It was this quality - to discover new facets of the word - that later formed the basis of modernism, and the writer herself was called the grand mother of style.

Despite the demands of the time and the traditions that have developed in literature, Gertrude Stein did not want to adapt her creations, although the sharp criticism deeply hurt the writer. She zealously desired to receive recognition during her lifetime, but her contemporaries considered her strange.

Notable books and quotes

Stein's literary work is often identified with painting. Each word in the work, like a stroke of paint, falls on paper-canvas and each is equal. Gertrude Stein's famous books ("Ida", "Three Lives") were written largely under the influence of prominent classics (Shakespeare, Flaubert), and they also feel the relationship with contemporary writers (Hemingway, Fitzgerald), with whom she was friends, whom supported. This is a unique synthesis of European avant-garde and American flavor. In addition, poetic works, lectures on literature and the famous aphorisms of the innovative writer have reached the modern reader.

Criticism

One of her first creations, written in 1909, was the novel Three Lives. Gertrude Stein spoke about three women's destinies, three characters. The action takes place in America, at Bridgepoint. The narration is rather restrained, later it received the definition of "emotional anesthesia". Critics, using the correlation of prose with painting, pointed to the influence of the French artist Cezanne in the creation of the heroine of Good Anna. The free syntax and open sexuality of the heroine Melancta gave the right to refer to the friendship between Stein and Picasso. But the influence of the Fauvist Matisse is felt most acutely in the character of Quiet Lena.

In 1937, another significant book was published. It was a frank story about her life, which Gertrude Stein did not immediately decide on. "Autobiography of everyone" - this is the name of the work. On the pages of the book, the reader not only gets acquainted with the main milestones, people and experiences in the life of the author, but also with her self-esteem. The book details Stein's trip to the United States after a 30-year absence and the changes that have taken place in the country. The work is filled with playful and mysterious aphorisms, which Gertrude Stein was so inventive for. Quotes from her works, by the way, are a separate study and a puzzle for critics.

Confession

1940 was a turning point for the whole of France. The occupation by the Germans, the war paralyzed the creative life of Paris for a while. The situation for Gertrude was complicated by the fact that she was Jewish. She was offered to leave for a while, but, being already an elderly lady, she decided to trust fate and stay in a country house. In 1944, the alarming situation subsided, and the writer returned safely to her native Paris. However, two years later, Gertrude Stein was struck down by a diagnosis of cancer. The only thing that saved me from the pain was morphine. July 27 was a difficult operation. Her writer's heart could not stand it...

During her lifetime, Gertrude Stein never received public recognition. For all her efforts and creative experiments, she received ridicule, betrayal and disapproval. It was only in the middle of the last century that the writer was talked about positively. Gertrude Stein's books have been translated into many languages, including Russian, and have replenished the golden fund of world art. And the writer herself was ranked among the classics of American literature.

Muse of art

Her personality was multifaceted and at the same time mysterious. Stein was open in her opinion, free from prejudice, but sensitive to the criticism of others. Such a controversial person simply could not go unnoticed by the masters of art. So, (the Russian founder of mystical surrealism) used the image of Gertrude to write the canvas "Phenomena". No less famous work is the "Portrait of Gertrude Stein" - the creation of Pablo Picasso.

The writer appears in the cinema: in the feature film "Modernists" (1987), in Woody Allen's film "Midnight in Paris" (2011). The image of Gertrude is present in literary works: Hemingway's "The Holiday that is always with you" and Satterthwaite's "Masquerade". Stein's poetic texts were set to music in different years by American composers Virgil Thompson (1934) and James Tinney (1970). Today in New York, in Bryant Park, there is a monument to the writer.

• Many artists of that time sought to get into the house of Gertrude Stein. Who turned to the writer for personal advice, who for support, who for “reasonable” criticism. Her famous guests were those whom Gertrude Stein herself gave the definition of the "lost generation" - early matured people who could not find their place in life.
• Gertrude's older brother Leo Stein did not approve of her sister's decision to live with Alice Toklas. He expressed his protest in leaving the house on Fleurus Street and breaking off family relations with Gertrude.
• Despite the fact that Gertrude Stein was a guiding star for many aspiring art geniuses and a rich source of theoretical knowledge, she estimated her own writing talent modestly, and long hard work often did not receive any response from society at all. The disappointment was reinforced by the fact that she enjoyed the respect and admiration of her "pupils" while they were inexperienced. With recognition, they often cut off friendships and even spoke negatively about the personality of the writer.

A monumental and conservative woman who has become one of the symbols in the history of art. At the beginning of the last century, she was called the godmother of the avant-garde. Her blessings were sought by the most famous writers, poets and artists, Picasso, Matisse and Cezanne always aspired to her house in Paris, and Hemingway called her “brother”. She herself loved art and women. Bright and controversial Gertrude Stein.

Salon of Leo and Herta

Gertrude was born in Pennsylvania to a wealthy Jewish family. The girl's parents were an intelligent couple of immigrants from Germany. They gave their children a varied education. The children were very friendly with each other, especially Gert and Leo, who was two years older than his sister. They will retain this affection for years to come. Gertrude studied at Cambridge at the Faculty of Psychology, then - at the Medical School at the University of Baltimore.

When Gerta was 29 years old, her father died, leaving a very solid inheritance, which made it possible for his children to do what they love. Having never received a medical education, the girl goes to Paris, to her beloved brother Leo. The Stines are well versed in art, and the father's capital helps to start a new business and collect paintings. Together they open an art and literary salon in their house.

Poets and writers, unrecognized at that time, gather in the salon, paintings by artists whose names will soon be known all over the world are exhibited here. In the meantime, Leo and Gertrude are the first connoisseurs and critics. Then the girl begins her writing career, imbued with the spirit of new, almost revolutionary trends in art. Her work of that period is considered to be controversial. Even the brother was very ambivalent about Gertrude's writing and tried to keep critical remarks to himself.

The Parisian beau monde treated the Steins with a dose of irony. Brother and sister went out for walks in strange attire. He was a tall, thin bespectacled man with a red mustache; she is a powerful woman with inquisitive dark eyes and the head of a Roman emperor, features as if carved from marble. But nevertheless, everyone was eager to get into the salon of Leo and Herta to see an extraordinary exhibition of bold new products. In fact, it was the first museum of modern art.

Give me new faces...

Despite the fact that the Steins were considered a family with quirks, their salon soon gained incredible popularity far beyond the borders of France. The mansion at 27 Fleurus has become a favorite meeting place for artists, poets, writers, critics, as well as collectors and patrons. Gertrude continued to replenish the collection of paintings. She had a natural flair for masterpieces. From hundreds of exhibits, she chose exactly the pearl, which soon became the subject of world recognition. The gift of a psychologist manifested itself here as well.

Herta could create a reputation for a writer or artist with one exact replica, or send his creation into oblivion. She gave a start to life to a large number of creative people, became an adviser, teacher, true friend and patron. Stein was on friendly terms with Picasso, Matisse, Hemingway, Fitzgerald.

Around her, young talents always gathered, the way for which she punched with the perseverance of her mother. Meeting people has become a passion for her. She always said: "Give me new faces." And probably new experiences...

lesbian love

Even in her student years, Gertrude first experienced falling in love with a woman. This was a discovery for the girl, but she calmly accepted her orientation, as befits a true psychologist.

In 1907, Stein met the American writer Alice Toklas, who became her lover, friend, personal secretary, editor, publisher, and translator.

Gertrude compared this meeting with a flash - she fell in love at first sight. Later, Alice will tell that when she first saw Gert, bells rang in her head. It was a sign ... Women did not hide their affection for each other, even in public. They were united not only by physical closeness, but also spiritual.

They lived together for 40 years in harmony and happiness, and were buried in the same grave two decades apart. Leo Stein could not come to terms with his sister's lesbian preferences, and she, in turn, with the fact that he crossed life with a street girl who heard "Nina of Montparnasse." In addition, the brother and sister showed differences in artistic tastes.

He did not understand her predilection for cubism and did not appreciate Herta's literary experiments. The Steins parted peacefully and forever, dividing the collection of paintings without reproaches or disputes. The breakup went "without the Apocalypse," according to Leo. The women stayed at Fleurus 27, where Alisa Toklas took control of housekeeping, leaving her beloved the opportunity to do only creative work.

Long-awaited recognition

The avant-garde orientation of Stein's poetry and prose did not find a response in the hearts of readers for a long time. Probably, in the initial period of creativity, Gertrude directed her forces in the wrong direction, polishing the talents of others. Recognition came to the writer in her declining years, only in 1933, when she published The Autobiography of Alice B. Toklas. This book was written on behalf of her beloved, witty and dynamic.

The essay was a huge success, was reprinted many times and was translated into foreign languages. Later, Gertrude Stein's poems were set to the works of American and German composers, and her strong-willed face adorned the canvases of Pablo Picasso and Pavel Chelishchev. This woman became the prototype of the heroines of the works of Ernest Hemingway and Walter Satterthwaite. The films of Woody Allen "Midnight in Paris" and Alan Rudolph's "Modernists" are dedicated to her. And in New York, a monument to the writer was erected.

BONUS

Stein did not keep up with the times, she overtook him. Even now, her thoughts are progressive and relevant. Especially, the famous statement once addressed to Ernest Hemingway: "All the youth who have been in the war are a lost generation."

And one more interesting personality -.