Gertrude Stein and Alice Toklas in the apartment at 27 rue de Fleurus, Paris, 1922; photo: Man Ray; private collection, San Francisco; © Man Ray Trust / Artists Rights. Society (ARS), New York / ADAGP, Paris
SFMOMA Announces Exhibition on the Art and Influence of Gertrude Stein and Her Family
SAN FRANCISCO, CA. – The Steins are responsible in many ways for the turn-of-the century revolution in the visual arts through their adventurous patronage, deep ties to leading minds of the era, and legendary Paris salon gatherings. As powerful tastemakers, they had a commitment to the new, a confidence in their inclinations, and a drive to build appreciation for the work they loved. From the moment they first dared to admire Matisse’s scandalous Woman with a Hat (1905)—the “nasty smear of paint”1 that gave the fauves their name—the foursome were staking claims for modern art that would heavily influence their peers and transform the careers of several of the most important artists of the century.The Steins Collect: Matisse, Picasso, and the Parisian Avant-Garde reunites the unparalleled modern art collections of author Gertrude Stein, her brothers Leo and Michael Stein, and Michael’s wife, Sarah Stein. Jointly organized by the San Francisco Museum of Modern Art (SFMOMA), the Metropolitan Museum of Art, New York, and the Réunion des Musées Nationaux, Paris, this major touring exhibition gathers approximately 200 iconic paintings, sculptures, drawings, prints, and illustrated books not only by Matisse and Picasso, who are each represented by dozens of works, but also by Pierre Bonnard, Paul Cézanne, Juan Gris, Marie Laurencin, Henri Manguin, Francis Picabia, Pierre-Auguste Renoir, Henri de Toulouse-Lautrec, and Félix Vallotton, among others. The Steins Collect will premiere at SFMOMA from May 21 through September 6, 2011, before traveling to Paris and then New York. Supplemented by a rich array of archival materials—including photographs, family albums, film clips, correspondence, and ephemera—the exhibition provides a new perspective on the artistic foresight of this innovative family, tracing their enduring impact on art-making and collecting practices and their inestimable role in creating a new international standard of taste for modern art. Sarah and Michael Stein’s return to San Francisco with a cache of important Matisse works in 1935, the same year SFMOMA was founded, was particularly instrumental in the advocacy of modern art on the West Coast as well as the making of the museum’s early collection; SFMOMA’s presentation will underscore the Steins’ deep connections to the Bay Area. “The Stein family legacy is proof that individual collectors make a huge impact on art history,” says SFMOMA Director Neal Benezra. “I can’t imagine a more timely and inspiring reminder that when it comes to collecting, presenting, and preserving the art of our time, it’s the appetite for risk and intellectual engagement with living artists that brings about the most important and lasting outcomes.” “It’s really impossible to overestimate the role of this eccentric American family as patrons of visual art in early 20th-century Paris,” says co-curator Janet Bishop of SFMOMA. “The Steins were true champions of modernism, embracing and defending new art as it was first being made and before it was met with widespread acceptance. They not only avidly collected works when the artists most needed support, but also enthusiastically opened their modest Left Bank homes to anyone wishing to see the most radical art of the day.” As American expatriates living in France, the four Steins were pivotal in shaping the city’s vibrant cultural life. Leo Stein (1872–1947) and younger sister Gertrude Stein (1874–1946) were the first to leave the family home in Oakland, traveling to Paris along with millions of tourists to visit the 1900 World’s Fair and then relocating to the city in 1902 and 1903, respectively. Sarah Stein (1870–1953) and Michael Stein (1865–1938) soon followed from San Francisco with their eight-year-old son, Allan, arriving in early 1904. The family established their apartments on rue de Fleurus (Leo and Gertrude) and rue Madame (Sarah and Michael) and quickly integrated into the intellectual circles of the Parisian avant-garde. Gertrude and Leo lived modestly off family investments and had to team up to afford their early purchases. “You can either buy clothes or buy pictures. It’s that simple. . . . No one who is not very rich can do both,” was Gertrude’s legendary quote from Hemingway’s A Moveable Feast. The Steins also formed close friendships with the emerging artists they championed, particularly Matisse and Picasso, whose works they aggressively collected and promoted to their associates, almost single-handedly creating markets for their work outside Paris. They dined and vacationed regularly with Matisse and his family, counseled Fernande Olivier on her stormy relationship with Picasso, and made countless introductions. Sarah was instrumental in helping Matisse establish his art school and was among his devoted students. Along the way, the Steins covered their studio walls with cutting-edge paintings by the most controversial artists of the day and were soon overwhelmed with requests to see the collections. They eventually had to establish regular visiting hours so that Gertrude could attend to her writing in peace. Michael and Sarah decided to open their apartment on the same night of the week and so began the prestigious Saturday evening salons where the brightest artists, writers, musicians, and collectors of the day convened to discuss the latest developments. Anyone with a proper referral was welcome to strain their eyes to see the works by candlelight, as neither apartment was wired with electricity yet. Following its SFMOMA debut, The Steins Collect will travel to the Grand Palais, Paris (October 3, 2011, through January 20, 2012) and the Metropolitan Museum of Art, New York (February 21 through June 3, 2012). The exhibition is cocurated by Janet Bishop, curator of painting and sculpture at SFMOMA; Cécile Debray, curator of historical collections at the Musée national d’Art moderne, Centre Pompidou, Paris; Rebecca Rabinow, associate curator and administrator, Department of Nineteenth-Century, Modern, and Contemporary Art at the Metropolitan Museum of Art; and Gary Tinterow, Englehard Curator in Charge, Department of Nineteenth-Century, Modern, and Contemporary Art at the Metropolitan Museum of Art. A richly illustrated catalogue accompanies the exhibition, with new research and original essays from a range of French and American experts in the field.