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Picasso Prints Gertrude Stein; Gertrude Stein Makes Sentences

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Picasso Prints Gertrude Stein; Gertrude Stein Makes Sentences Experimentation in time and the process of discovery: Picasso prints Gertrude Stein; Gertrude Stein makes sentences The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Bowers, Jane P. 1994. Experimentation in time and the process of discovery: Picasso prints Gertrude Stein; Gertrude Stein makes sentences. Harvard Library Bulletin 5 (2), Summer 1994: 5-30. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:42664019 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA 5 Experiment in Time and Process of Discovery: Picasso Paints Gertrude Stein; Gertrude Stein Makes Sentences Jane P. Bowers nterartistic comparisons of the work of Gertrude Stein and Pablo Picasso are a I commonplace of Stein criticism. 1 In these comparisons Stein is identified as a cubist writer whose poems are stylistic analogues to Picasso's paintings. In the typi- cal analogy, analytic cubism is said to be comparable to Stein's early writing style (1906-1911), characterized by the repetition and incremental modification of sen- tences made up primarily of pronouns, present participles, and grammatical con- nectors. Synthetic cubism is then seen as analogous to her later style (post-19u), characterized by fragmentation and antigrammatical linguistic juxtapositions. The most cogent argument for these stylistic analogies is offered by Wendy Steiner, who points out that "the [cubist] work of art signifies not reality, but the process of JANEP. BOWERSis Professor in perceiving and conceiving of it." Despite Steiner's awareness of the cubists' inter- the Department of English at est in process, her approach to Stein and Picasso is fundamentally object-centered, the John Jay College of Crimi- as are most other discussions of the two. That is, following a structuralist program nal Justice, The City Univer- sity of New York. of interartistic comparison, Steiner concentrates on the "way the media of the two arts function" as evidenced by the "physical artifact" (poem or painting), our "per- ception of it," and the "meanings it represents. " 2 In her comparisons of Stein and Picasso, she focuses on the artifact and on the processes of vision and conception exhibited by the artifact, but she takes very little interest in the creative process of which the artifact is a product, or what has been called by Charles Altieri and oth- ers the constructive activity of the artist. I would like to propose a comparison of Stein and Picasso that is action-cen- tered rather than object-centered and that takes as its point of departure a pivotal, precubist moment in their respective creative histories, the year 1905-1906, the r For works devoted exclusively to comparisons of Stein Neuman and Ira B. Nadel (Boston: Northeastern Uni- and Picasso and to considerations of Stein as a cubist versity Press, 1988), 98-II 8. For the most enlightening writer, see Michael J. Hoffman, The Development of of the books and articles that offer discussions of Stein Abstractionism in the Writings ofGertrude Stein (Philadelphia: and cubism in a broader context, see Jayne Walker, The University of Pennsylvania Press, 1965); Randa Dubnick, Making of a Modernist: Gertrude Stein from "Three Lives" to The Structure of Obscurity: Gertrude Stein, Language, and "Tender Buttons" (Amherst, Mass.: University of Massa- Cubism (Urbana, Ill.: University of Illinois Press, 1984); chusetts Press, 1984). and Stephen Scobie, "The Allure of Multiplicity: Meta- 2 Wendy Steiner, The Colors of Rhetoric: Problems in the phor and Metonymy in Cubism and Gertrude Stein," in Relation between Modem Literature and Painting (Chicago: Gertrude Stein and the Making of Literature, ed. Shirley University of Chicago Press, 1982), 181, 50. 6 HARVARD LIBRARY BULLETIN Picassoand GertrudeStein 7 year in which Picasso began his portrait of Gertrude Stein (figure l) and Gertrude Stein completed Three Lives and took up again a project she had earlier abandoned, the long narrative The Making efAmericans. The terms action-centeredand object-centeredoriginate with Goran Hermeren, who identifies two types of artistic influence, action-dominated and object-dominated. According to Hermeren, the study of interartistic influence should focus on the action of the artist rather than on the object when the artist who exerted the influ- ence had a conception of art that was itself focused on action. Hermeren defines action-dominated artists as "revolutionaries who tried to change or at least chal- lenge the conception of art which was current at the time. " 3 Picasso and Stein were such artists, and their "revolution" began in the winter of 1905-1906. It is com- monly assumed by both art historians and literary critics that Picasso influenced Stein, not the reverse. This view privileges Picasso, of course, and posits Stein as a follower, a secondary figure, translating pictorial cubism into a language art. I would suggest that the question of who influenced whom is not a very interesting one and that, in any case, it cannot be conclusively answered. We will therefore concentrate here on the impulses the two had in common as revealed by their work during 1905 and 1906. In order to elucidate the interconnection between Stein and Picasso and the intersections of their media and their praxis, I am going to examine an experience the two shared-Picasso's painting of Stein's portrait-and to suggest that the si- multaneous actions of painting and sitting were to change their conceptions of art and of creative activity. The portrait of Gertrude Stein was a declaration of inde- pendence and an act of self-definition for both painter and sitter. The creative pro- cess that Picasso enacted and Stein witnessed was to "influence" both of them and Figure 1 (opposite). Pablo Picasso, to move them away from old models toward a new, process-oriented aesthetic. Portrait of Gertrude Stein, 1906, oil on canvas. The Metropolitan Museum of Art, Bequest of Gertrude Stein, I 1946. When I tug at the single thread of Picasso's portrait of Gertrude Stein and loosen it from the dense weave that is the history of the art of the modern period, I am led by this unraveling to Cezanne, whose general influence on Picasso has been fre- quently documented and discussed. In particular, the portrait of Gertrude Stein has been linked to Cezanne's Portraitef Madame Cezanne with a Fan (figure 2), one of the twenty-three paintings that Ambroise Vollard loaned to the 1904 Salon D'Automne, 4 a painting that Leo and Gertrude Stein subsequently purchased. Picasso would have seen the portrait of Madame Cezanne first at the Salon D'Automne and then repeatedly at the Steins' during the winter in which Stein sat for him. John Rewald points to certain pictorial similarities between the two im- ages: the vertical line that bisects the background, the curve of the armchair that separates figure from ground, the three-quarter angle of the pose, the placement of the hands, and the masklike face with its "penetrating" yet "absent" eyes. 5 The similarity between the two paintings lies not only in the images but also in what is recorded in the images-that is, their execution. J Goran Hermeren, Influence in Art and Literature (Prince- University Press, 1989), 93--94. The painting is also ton, N.J.: Princeton University Press, 1975), 20-21. known as The Artist's Wife in an Armchair. 4 John Rewald, Cezanne and America: Dealers, Collectors, 5 Ibid., 72. Artists and Critics, 1891-1921 (Princeton, N.J.: Princeton 8 HARVARD LIBRARY BULLETIN Figure 2. Paul Cezanne, The Artist's Wife in an Armchair, 1881-1882, oil on canvas. Foundation E. G. Buehrle Collection, Zurich. The story of Picasso's painting of the portrait of Gertrude Stein is well known. Stein sat to Picasso close to one hundred times during the winter of 1905-1906. She would cross Paris to the artist's frigid studio at Bateau Lavoir, where she would pose in a broken armchair near the stove-the sole source of heat. Picasso's mis- tress Fernande Olivier would sometimes read aloud to entertain her: fables from La Fontaine or the most recent installment, supplied by Stein herself, of the Katzenjammer Kids comic strip, to which Fernande and Picasso were both ad- dicted. At dusk, Stein would walk back to her apartment on rue de Fleurus. On Saturdays, Fernande and Picasso would accompany her, dining with her and her brother under the eyes of Cezanne's portrait of his wife; after dinner they would join the regular Saturday-night salon. Visitors to his studio at this time, admiring the likeness of the portrait to its sitter, would urge Picasso to stop with one repre- sentation or another; in response he would blot out the image and begin again. And so the sittings continued until one day in the spring of 1906, when Picasso painted out the head, announcing, according to Stein, "I can't see you any longer when I look." Shortly afterward, Picasso and Fernande left to spend the summer in Spain, and Stein went off to Italy with her brother. When Picasso returned from Picassoand Gertrude Stein 9 Spain, he again took up the problematic portrait and painted in the head as we see it today, without further recourse to the model. 6 As it happens, Portraitof Madame Cezanne with a Fan has a similar compositional history. Rewald tells us that the Cezanne portrait was probably started in 1878 and reworked between 1886 and 1888: The discreet wallpaper of bluish floral sprays in the background of her portrait can be identified with lodgings Cezanne occupied in 1879-80 ..
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