Week 4

Assignment: Leo without Gertrude

• Read some notes about Leo's life after the split with Gertrude. What stands out to you about his life without Gertrude?

1. “I'm going to Florence a simple-minded person of the "Old School" without a single Picasso, hardly any Matisses, only 2 Cezanne paintings & some aquarelles, and 16 Renoirs. Rather an amusing baggage for a leader in the great modern fight. But que voulez vous. The fight is already won & lost.  Cezanne & Matisse have permanently interesting qualities, Picasso might have had . . .if he had developed his gifts instead of exploiting those that he did not possess. The general situation of painting here is loathsome with its cubico-futuristic tommyrotting. I don't believe it can last very long, however, as its effectiveness is soon seen through & when no longer curious it becomes a bore. It is, even on the part of the most distinguished representative, nothing better than an exploitation of ingenuity.”

2.  Leo moved to his villa in Settignano, Italy April 2, 1914.  The major disagreement centered on Picasso’s new direction, Leo considered cubism an “utter abomination.  He also  was no longer in charge at rue de Fleurus, “an outsider.”

3. He sailed to the U.S. May 10, 1915.  He had a huge social life among avant-garde artists in NYC .

4. He established a strong friendship with Dr. Barnes

5. He started writing and publishing. Included a lot of Freud’s theories. Suffered from depression and fear of failure

6. Returned to Europe Nov, 1919 and married Nina Auzias in1921. 

7. He sold most of his collection to Barnes and Durand-Ruel in 1921.

8. He struggled to write his own book on aesthetics. Finally published the A-B-C of Aesthetics in 1927 but received bad reviews. 

9. He returned to U.S. to give a series of 12 lectures at New School in NYC. Not very successful.

10. He started collecting again in 1926 but most important he started painting again in 1930.

11. He struggled financially and had to make more sales of his collection

12. Gertrude’s autobiography in 1933 hardly mentioned him.

13. He spent the war in Italy.

14. Published Appreciation: Painting, Poetry and Prose in 1947. It received positive reviews including praise from Barnes.

15. Leo died shortly after. July 29, 1947. He wife, Nina, committed suicide two years after his death.

Assignment:

• Read the following short description of The Stein apartment.

The Steins' tiny apartment — situated on a narrow, tree-lined street — was jammed full of paintings. Gertrude's brother, Leo, got there first, in 1902, and Gertrude moved in the next year.

"The Rue de Fleurus apartment was smaller than most people's dining rooms," says Rebecca Rabinow of the Metropolitan Museum of Art in New York, where the show will open in February. "These pictures were just stacked from floor to ceiling. There was no electric light at the beginning, so people would sometimes light matches so they could see the pictures in the dark corners."

Assignment:

• Read the article by Lucile Golson about Michael and Sally Stein's Collection.

• Answer the questions following the article.

THE MICHAEL STEINS OF SAN FRANCISCO: ART PATRONS AND COLLECTORS

by Lucile M. Golson

San Franciscans were especially interested in Oriental art, and Chinese bronzes and Japanese prints were prized. As a young couple, Michael and Sarah Stein surrounded themselves with Oriental objects and furniture. These figure conspicuously in old photographs owned by the family, and some were taken with them to Paris for their Rue Madame apartment.

Born in Pittsburgh on March 26, 1865, Michael D. Stein had returned East to attend college; after studying at Johns Hopkins University, he joined his father in the management of one of San Francisco's street railways. When, following his mother's death in 1888, his father died in 1891, Michael— two months shy of twenty-six— succeeded him as family head and also became assistant superintendent of the Omnibus Cable Company, of which his father had been vice-president.

In 1893, in the first business coup of his career, Michael Stein successfully promoted the consolidation of the street railways and the following year became second vice-president of the combined system, the Market Street Railway Company, of which he became division superintendent in 1895.

Several stories have been told about Michael's aversion to the business world and his sympathy for the working man, which led him to join with the unions during the cable-car strike of 1902. These inclinations no doubt led to his premature retirement in about 1903 and his decision to seek in Europe a more congenial and leisurely life. A gentle and reticent man, ever helpful to his friends, Mike, as he was known, was to remain the figure of the solicitous, reasonable elder brother to Leo and Gertrude. According to Alice B. Toklas, he was "a really lovely person, a beautiful character and Gertrude was devoted to him."

His interests at first centered on music and the theater. The surprisingly few references to Michael in the published letters of Gertrude and Leo tend to give the impression that his role in relation to art involved exclusively the practical aspects of buying and installing. In actuality, however, although he was apt to rely on his wife's judgment in art, Michael was far from being merely a passive spectator. Annette Rosenshine, who lived with the Steins in Paris from 1906 to 1908, describes his pleasure at showing American visitors around the museums and galleries. He even took her one day to the Hotel Drouot, where he purchased a fine little Cezanne, Portrait of the Artist's Son, Paul, for which he paid the equivalent of $200— a then-incredible sum; the next day, a Paris newspaper labeled him the "crazy American."

Michael Stein's marriage to the vivacious Sarah Samuels in 1893 suited his retiring nature. Born in San Francisco on July 26, 1870, Sarah— or Sally, as she was known— was the second child of a prominent family. A bright young girl who graduated from high school at the age of fifteen as class valedictorian, she is said to have studied painting before her marriage. Appraisals of her personality have varied considerably. Annette Rosenshine gives this description of her as she was after having lived in Paris for a few years: "Her appearance suggested comfort, a good San Francisco bourgeoise, not a vestige of modishness, of Parisian chic." Portraits painted later, notably by Matisse, reproduce sensitive and intelligent features. Others have stressed an emotional, affectionate nature, marked by enthusiasm and singleness of purpose, and not without a degree of intolerance. Matisse was her great man; according to Harriet Lane Levy, Sarah's eloquence "mesmerized" others into accepting him as the painter of his generation.

Sarah's early letters to Gertrude Stein reveal a warm, protective attitude toward her younger sister-in-law. But their relations soon are less clear. Some rivalry in matters of art may have existed, together with a feeling of insecurity on the part of Sarah, as tastes diverged and Gertrude developed into a rising author. Late in 1903, the Michael Steins and their eight year-old son Allan settled at 58 Rue Madame, in a quiet section of the Left Bank, close to Leo and Gertrude who had preceded them to Paris shortly before and were living in the Rue de Fleurus.

The Rue Madame apartment was a converted loft (rather curiously, in a former Protestant church building), with a potbellied cast-iron stove in the large living-dining room. Photographs of this room show it filled with Italian furniture that the Steins collected with a passion, together with Persian rugs and Oriental objects brought from San Francisco. A dazzling array of their rapidly growing collection of modern paintings was ranged along the walls. For a while, works by Cezanne, Renoir, and even Picasso, such as the sensitive portrait of Allan painted in 1906, held their own among those by Matisse, but soon the number of the latter became overwhelming. The large room with its fine paintings was the setting for a weekly open house on Saturday evenings at nine. According to Ambroise Vollard, the Steins were "the most hospitable people in the world." Americans were quite a novelty in Paris, and the two Stein salons with their display of avant-garde art became the fashionable places to visit for connoisseurs and dilettantes alike. These were not merely social occasions: Beautifully gowned in original costumes and antique jewelry . . . Sarah sat on the couch in the corner explaining to everybody the greatness of Matisse. People listened to her, unconvinced, but overwhelmed by her enthusiasm and authority.

Serious philosophical discussions are said to have taken place at the Michael Steins' salon, where Matisse reportedly met for this purpose with such aestheticians and scholars as Matthew S. Prichard and Georges Duthuit. Among the illustrious visitors who availed themselves of the almost unlimited hospitality of the Steins were the famous Russian collector Sergei Shchukin, the Cone sisters of Baltimore (who greatly profited by the experience and eventually went on to outdo the Steins in their collecting zeal), and on a rare occasion even Dr. Albert Barnes of Pennsylvania.

Although comfortable, the Steins were not affluent. They have been described as leading a rather frugal life in Paris, denying themselves the pleasure of attending a play or a concert in order to be able to travel and to concentrate on their all-consuming passion for art. But in those early years, they never spent more than a few hundred dollars on the masterpieces of their choice.

Sarah Stein's relation to Matisse was more than that of a propagandizer and collector of his work. Following the Salon d'Automne of 1905, after Leo Stein had taken his brother and sister-in-law to meet the artist in his studio, a close friendship developed between the Michael Steins and the Matisses, and the two families visited back and forth. The painter seems to have found in Sarah a confidante, even a critic whose judgment he valued. According to Therese Jelenko, Matisse would come regularly to the Rue Madame, carrying bundles of his pictures, and Sarah "would tell him what she thought of things, sometimes rather bluntly. He'd seem to always listen and always argue about it." Annette Rosenshine adds: "I recall seeing Matisse in the Steins' apartment when he was in the throes of struggling with a new creative expression. There he found solace in unburdening his latest problems and uncertainties to Sarah Stein, knowing that he would receive sensitive, sympathetic understanding. The talk and friendship were of value to him."

In later years, after the Steins' return to America, he corresponded with Sarah, telling her of his work and over the years his loyalty to her never flagged. In the winter of 1907/8 Sarah Stein, who was receiving informal instruction in painting from Matisse, was instrumental in helping him to organize a short-lived art academy. A perceptive as well as an attentive listener, she took notes of her teacher's comments, which are among the most remarkable statements of an artist's philosophy and views on art.

The gathering of a great collection is in itself a work of art, Michael and Sarah Stein, by their almost exclusive concentration on the work of Matisse, demonstrated a prophetic gift for uncovering masterpieces at their inception, and in the process they succeeded in capturing something of the artist's personality. Particularly noteworthy is the importance given to the human face and figure, reflecting the painter's own feelings: "It is through it [the human figure] that I best succeed in expressing the nearly religious feeling that I have towards life."

The Steins' greatest activity was concentrated in the few years between 1905 and 1908. But two periods and two collections are involved. The first and more important collection was largely lost after the first World War. the Steins' had lent nineteen paintings to a large Matisse retrospective on view at the Gurlitt Gallery in Berlin. when hostilities broke out in August 1914 the work was not returned. In 1917 the gallery held a fictitious auction and the Steins heard that various individuals claimed ownership of some of the paintings.  The Steins worried that the paintings would be confiscated as alien property when the United States entered the war in 1917. Eventually, the paintings were sold to a Norwegian collector, Tetzen-Lund, in 1920. . No one really knows why. Tetzen-Lund had promised to sell the work back to the Steins when the war was over but that never happened. 

According to Sarah, it was "the tragedy of her life,"

After the war, the Steins continued to collect but on a reduced scale; when they left France in 1935 to return to Palo Alto, California, their collecting activities had been virtually at an end for some years.

Every phase of Matisse's early development was represented, starting with The Open Door of 1896 (now in a private collection), painted when the artist was quite close to the work of his contemporarie, the Nabis. 

The Sideboard and Table 1899 already exemplifies Matisse's "pre-fauve," pointillist technique, a shimmer of warm tones over an intricate spatial arrangement. 

One of Matisse's key pictures, the Joy of Life, 1905-6 (Barnes Foundation, Merion, Pennsylvania) was bought by Leo; but the Michael Steins revealed a penetrating and sympathetic interest for the creative process that engendered it by acquiring several important studies for this painting: the Landscape at Collioure, 1905 (Statens Museum for Kunst, Copenhagen), and the Study for Joy of Life, 1905, always one of Sarah Stein's favorites. These enable the viewer to follow the slow and thoughtful maturation involved in the creation of the Joy of Life, even if the artist's intent in the paintings was primarily to "render the emotion they awaken"— a statement Matisse made concerning his still lifes that might equally well apply to most of his pictures.

These extensive acquisitions followed the first bold venture involving the four members of the Stein family, the purchase of the Woman with the Hat which was the big sensation of the 1905 Salon d'Automne and was one of the works chiefly responsible for the label of "fauves" jocularly applied by the critic Vauxcelles to Matisse and his group in response to their paintings in that show. Therese Jelenko, who accompanied the Steins on their visits to the Salon, recalls: "I still can see Frenchmen doubled up with laughter before it, and Sarah saying 'it's superb' and Mike couldn't tear himself away." Traditional in subject matter and costume, it remains one of Matisse's most significant and revolutionary statements. The transposition of nature for the sake of expression and the importance of color in achieving that aim appear fully for the first time in the Woman with the Hat, with its richly contrasted palette and its modeling through complementaries rather than tonal values. The story goes that the model, Mme Matisse, was dressed all in black and seated against a white wall. The painting remained in the Rue de Fleurus apartment, the last Matisse owned by Gertrude, who sold it to Michael in 1915. It was one of the few works that Sarah and Michael Stein kept over the years and took back with them to California.

In 1906, Michael and Sarah, on their own this time, bought the even bolder Mme Matisse ("The Green Line") of 1905 (Statens Museum for Kunst, Copenhagen). It too is a portrait of the artist's wife, but a different technique of flat pigments applied in a heavy impasto. Striking are the warmth and seriousness of expression, that quality ever present in portraits by Matisse of the "deep gravity which persists in every human being." This work, the equally bold little Nude before a Screen and a third, unidentified painting were taken by the Steins to San Francisco when they returned there for a few months after the 1906 earthquake and fire. They were the first works by Matisse to be seen in America, and the shocked reactions of her friends back home were humorously reported by Sarah Stein in a letter to Gertrude. But a New York friend, the painter George F. Of, was so impressed by the paintings that he entrusted  Sarah with securing a Matisse for himself. She chose Nude in a Wood, ca. 1905 (now in the Brooklyn Museum), which became the first work by Matisse to be acquired by a collector in the United States. The Michael Steins further continued their efforts to make Matisse better known in this country by lending two of their best paintings by him to the Armory Show in New York in 1913.

The year 1906 marked the high point of the Steins' collecting activity; they also acquired the Young Sailor, I and The Gypsy, 1906 (Musee de l'Annonciade, St.-Tropez). An amazingly direct Self -Portrait, 1906, which Gertrude Stein thought too intimate to be shown publicly, introduces Matisse's development toward a more structured, restrained style and the search for essentials— a development represented also in the Steins' collection by The Hairdresser of 1907. An increased use of rhythmic, constructive lines is apparent in this painting. "I try to condense the meaning of this body of a woman by drawing its essential lines" in order to achieve "a wider meaning, a more comprehensively human one," Matisse was to write the next year.

In contrast to these stunning, often large works, a number of fresh landscapes, such as the two seascapes of 1905 (San Francisco Museum of Art, Mildred B.Bliss Bequest) indicates Matisse's continuing links with Neo-Impressionism. A few, but significant, still lifes complete the Steins' selection at this time. They range from the low-keyed Study in Blue, 1903 (Brayton Wilbur Collection, Burlingame, California), evocative of both Chardin and Cezanne, to the deceptively simple and gaily patterned Pink Onions, 1906 suggestive of Near Eastern influences. The Interior with Eggplants of 1911 is the most impressive of the group, not only for its monumental size (82  by 96 inches) but also for the enrichment of palette and the surface-space intricacies prophetic of the 1930s and '40s. It was one of the last important paintings acquired before the war.

Matisse's search for solidity and construction is manifested in this period by his bronze sculpture, which is also well represented in the Stein colllection.

The collection formed by the Michael Steins after the first World War cannot compare in scope to their earlier acquisitions. A few of Sarah's own paintings, closely inspired by her master, had already joined his work in the Steins' home—further evidence of her identification with him. The two iconlike portraits by Matisse of Michael and Sarah, 1916 are perhaps echoes of the artist's trip to Russia in 1911 —especially the one of Sarah, in its almost hypnotic quality, its steely blues and grays, and its contrasted lighting.

The Bay of Nice, 1917 and Tea, 1919 are typical examples of the warmly relaxed attitude, the sunny atmosphere, and the enriched palette and texture of Matisse's painting in the immediate postwar years. The few paintings which the Steins acquired after 1920,such as the Cap d'Antibes Road, 1926 (Private collection, Paris), and the Girl Reading, 1927), mark a continuation of this trend.

The last important act of patronage that Sarah and Michael Stein performed was their creation of a suitable environment for their masterpieces — the Villa Stein (Les Terrasses) erected in 1927 at Garches on the outskirts of Paris by Le Corbusier. He was then a little-known architect whose work Michael is said have discovered at the International Exposition of Decorative Arts held in Paris in 1925. The pioneering construction of this villa, a rational excursion into the relationship of solids and voids, is close to the spirit of  Cubism, and its cool, machine-age aesthetics seem alien to Matisse, though possibly related to his thought in order and clarity. Perhaps the Steins themselves may not have felt altogether at home in their new surroundings, and within the flowing space of the open-plan interior they attempted to re-create with their Renaissance furniture and Oriental objects the warm, cluttered atmosphere of the Paris residences in which they had spent their earlier years. Matisse, however, still reigned supreme on the walls.

The Michael Steins moved back to California in 1935. After Michael's death three years later, his widow rounded off the collection with single prints and illustrated books by Matisse, such as the gracefully linear Poemes de Charles d'Orleans and the syncopated, stenciled patterns of Jazz (printed in Paris by Teriade in 1950 and 1947, respectively). But before her death in 1953, Sarah gradually dispersed the collection that she and her husband had once hoped to leave to some public institution in California.

During her last years, she still corresponded with Matisse; and in a letter that can be dated about 1946, the painter confided to his old friend: If my health allows, I shall be able to conclude in the time I may yet have to live—that is having been born and having started as a colorist (conceiving through color), having all my life developed my potential in drawings, requiring so much effort to control my expanding color through the bonds of drawing— shall end by conceiving through color. . . . Shall I have time to express myself by creating through a union of color and drawing? Express through color that depth of feeling that I have succeeded in giving my drawings?"

In 1955, a Sarah and Michael Stein Memorial Collection was inaugurated at the San Francisco Museum of Art by Mrs. Walter A. Haas and Mr. Nathan Cummings with their respective gifts of the two 1916 portraits of Sarah and Michael referred to above. Mrs. Haas had planned this collection for some time; she had discussed the proposal with Matisse in Paris and had exchanged letters with him about it. Shortly before his death, Matisse chose two drawings and sent them as his tribute to his old friends and patrons; he explained that these drawings "though they seem different, are sure by their qualities to be in perfect harmony with the works of the Stein Collection that may be brought together in the Museum."

Most of the Steins' treasures are now widely scattered. What is the proper epitaph for a once-great collection? "Whether we want to or not," Matisse once declared, "we belong to our time and we share in its opinions, preferences and delusions." Perhaps it is in such a fashion that the collection formed by Michael and Sarah Stein still survives: witness of a former unique moment in the arts, a work of love, and a memorial to a great friendship.

1.      Why did Michael Stein decide to retire in 1903 at the age of 38?

2.      How did he get the title “the Crazy American” in Paris ?

3.      What do you know about Sally Stein?

4.      In what sense were the salons at Michael’s and Sally’s house a promotion for the work of Matisse?

5.      Who were some of the collectors (or would be collectors) people who visited the Michael Stein’s soirees?

6.      How would you describe the relationship between the Steins and Matisse?

7.      What happened to their collection after WW1?

8.      What were the first works by Matisse that the Steins took with them to America when they returned after the San Francisco earthquake?

9.      Who was the architect for the Villa Stein in 1927?

10.   What happened to the collection of Michael and Sally Stein?

Assignment: 

After reading the story about Michael and Sarah Stein do you think there was a blurred boundary between their two roles of collectors and private dealers? 

Assignment:

• Read a short article about the Michael Stein family, their villa and their collection

THE VILLA STEIN-DE MONZIE

Curator Rebecca Rabinow discusses the villa that the Swiss architect Le Corbusier designed for Sarah and Michael Stein. Transcript available in Met Media

In 1926 Sarah and Michael and their friend Gabrielle Colaço-Osorio commissioned Le Corbusier to design a house in Garches, just west of Paris. The residence boasted two separate apartments and a shared common space. The house was expensive, but Gabrielle was able to offset the cost. (Her father had been the financial backer of Ripolin, a popular brand of commercial enamel paint.) She and Sarah had met through the Christian Science Church in Paris, with which they both remained actively involved.

Le Corbusier was delighted with his new patrons. He wrote to his mother, "They are the people who bought the first Matisses, and they seem to consider that their contact with Le Corbusier is also a special moment in their lives. Papa Stein has been spending hours on-site every day observing everything. The house is clean and pure, far beyond anything we have done: a kind of obvious, indisputable manifesto." The building incorporated Le Corbusier's "five points" of modern architecture: it was a raised structure consisting of concrete slabs supported by reinforced pillars and it had a free facade with non–weight-bearing walls, a roof garden, an open floor plan, and ribbon windows for maximum light.

The house attracted many international visitors, including the artists Piet Mondrian and El Lissitzky. Some found the ultramodern building too industrial. The Steins' Italian Renaissance furniture and numerous throw rugs added a domestic note to the interiors, though more than one guest remarked upon the odd juxtaposition of styles. Michael in particular was extremely proud of the house. "After having been in the vanguard of the modern movement in painting in the early years of the century, we are now doing the same for modern architecture," he explained.

Unlike her brother-in-law Leo, Sarah was not a Harvard-educated intellectual. But she had mixed in an artistically stimulating circle on the West Coast, counting Isadora Duncan and the dancer’s brother Raymond among her friends, as well as Robert Louis Stevenson’s widow Fanny. Her relative lack of cultural preconceptions (there were no notable European paintings in the city of San Francisco at that date, except a single Millet) probably left her more open to the new than Parisian pundits.

Confirmation that Sarah had a remarkable eye, if not a business touch, came from the dealer Ambroise Vollard: “I would let Mme Stein buy any work of art for me”, he confessed, “but I would never let her sell a single painting for me.” The business-head in the family belonged to her husband Michael. He was the one who sailed back to San Francisco the following year to stabilise the financial position of the Steins following the city’s earthquake of April 1906.

The Steins’ money came from investments in San Francisco streetcar stock and property left to them by their parents. With some 80 per cent of the city destroyed by the earthquake and subsequent fires, this cash flow was obviously in danger. The Steins might have been almost ruined, as Matisse wrote to his friend Manguin, gloomily because they were his principal patrons. Fortunately for them and for modern art, the Steins’ incomes survived.

Sarah, who accompanied Michael on this trip, brought with her the first three works by Matisse ever to be seen in the US, among them Standing Nude (in the months following the Salon, she and Michael had quickly bought several more of his pictures).

Even before she arrived in San Francisco with Standing Nude packed in her valise, she had taken a friend from Baltimore named Etta Cone to visit the painter in his studio. Eventually Etta, with her sister Claribel, assembled one of the greatest collections of Matisse in America.

Michael was the only one of the Stein siblings who ever held a job (as superintendent of the Market Street Railway). But, in 1903, he was persuaded to give it up to join Leo and Gertrude, who were already living in Paris. He, Sarah and their son Allan came for a year, but couldn’t bear to leave. Eventually, they stayed for more than 30 years. They lived on the third floor of a former Protestant church on the rue Madame (Leo and Gertrude’s celebrated lodging was at 27 rue de Fleurus, near the Luxembourg Gardens).

Both apartments became crammed with masterpieces of early 20th-century painting. But whereas the walls at 27 rue de Fleurus were covered with works by a variety of artists, including great Picassos, Michael and Sarah concentrated on Matisse. Photographs of the rue Madame apartment show his works hung one above another, up to four or five high. There were 12 major pictures on one wall alone, including Standing Nude.

The commanding sensibility behind the collection was undoubtedly Sarah’s. Michael was happy to leave the buying to her. Steinberg, who talked to her in depth during the 1940s, concluded that Sarah and Matisse were “kindred spirits”. The painter would bring works to her “in bundles” according to Theresa Ehrman, the Steins’ nanny, and “Sarah would tell him what she thought of things, sometimes rather bluntly”.

Matisse would “always seem to listen and always argue about it”. Sarah in turn paid close attention to what he said to the students at the art school which she herself attended as a student. Her notes on his teaching are an important early document of Matisse’s thought.

Steinberg, who was training as a psychoanalyst when he knew Sarah, was intrigued by her relationship with Matisse. But, he wrote, “whether it had been a physical one was never clear to me”. Whatever the truth, their alliance was crucial to the artist at a certain point, and Standing Nude – the first painting by Matisse that she owned and one of the earliest to catch her attention – was an emblem of it.

Steinberg was “startled” when he saw the picture for sale in a Los Angeles art gallery. It was the first hint he had had that Sarah was obliged to sell off her collection to pay debts. It must have been a sad moment for her when she was parted from it. For his part, when she returned to the United States in 1935, Matisse wrote, “it seems to me that the best part of my audience has gone with you”.

Assignment:

• Read about the "great tragedy" for the Michael and Sarah Stein as collectors.

They lost 19 paintings that Matisse and Hans Purrmann had urged them to send in July 1914 to an exhibit at the Kunstsalon Fritz Gurlitt in Berlin. When the war came the paintings were at risk of being seized as enemy property and the Steins felt they had no choice but to sell them. These major works from 1897 to 1909 - including Red Madras Headdress and La Coiffure as well as the Young Sailor I, Blue Still Life, the Green Line, Pink Onions and Matisse"s 1906 Self-Portrait would never be reclaimed. 

The couple moved back from Paris in 1935. A 1937 inventory revealed a collection of 70 lithographs and seven etchings by Matisse. Matisse's ongoing gifts of prints to the couple may have been connected to his distress over the loss of their artworks in the Gurlitt affair for which he may have felt partially responsible. 

Assignment:

• Listen to the final 2 talks from the Met Program The Steins Collect. The first lecture explains why Gertrude Stein had to leave her apartment on Rue Fleurus and move to rue Christine; the speaker also explains how Gertrude and Alice survived WW2 as Jews living in France and we learn how the Picasso portrait joined the collection at the Met. 

• The final lecture deals with what happened to her collection after her death. there is also a comment about her interactions with the German occupiers which is intriguing. 

• Start at 1 hour 14 minutes and go to the end.

Images Class 4