So the Saturday evenings began.
Gertrude Stein and her brother were often at the Matisses and the Matisses were constantly with them. Madame Matisse occasionally gave them a lunch, this happened most often when some relation sent the Matisses a hare. Jugged hare prepared by Madame Matisse in the fashion of Perpignan was something quite apart. They also had extremely good wine, a little heavy, but excellent. They also had a sort of Madeira called Roncio which was very good indeed. Maillol the sculptor came from the same part of France as Madame Matisse and once when I met him at Jo Davidson’s, many years later, he told me about all these wines. He then told me how he had lived well in his student days in Paris for fifty francs a month. To be sure, he said, the family sent me homemade bread every week and when I came I brought enough wine with me to last a year and I sent my washing home every month.
Derain was present at one of these lunches in those early days. He and Gertrude Stein disagreed violently. They discussed philosophy, he basing his ideas on having read the second part of Faust in a french translation while he was doing his military service. They never became friends. Gertrude Stein was never interested in his work. He had a sense of space but for her his pictures had neither life nor depth nor solidity. They rarely saw each other after. Derain at that time was constantly with the Matisses and was of all Matisse’s friends the one Madame Matisse liked the best.
It was about this time that Gertrude Stein’s brother happened one day to find the picture gallery of Sagot, an ex-circus clown who had a picture shop further up the rue Laffitte. Here he, Gertrude Stein’s brother, found the paintings of two young spaniards, one, whose name everybody has forgotten, the other one, Picasso. The work of both of them interested him and he bought a water colour by the forgotten one, a café scene. Sagot also sent him to a little furniture store where there were some paintings being shown by Picasso. Gertrude Stein’s brother was interested and wanted to buy one and asked the price but the price asked was almost as expensive as Cézanne. He went back to Sagot and told him. Sagot laughed. He said, that is alright, come back in a few days and I will have a big one. In a few days he did have a big one and it was very cheap. When Gertrude Stein and Picasso tell about those days they are not always in agreement as to what happened but I think in this case they agree that the price asked was a hundred and fifty francs. The picture was the now well known painting of a nude girl with a basket of red flowers.
Gertrude Stein did not like the picture, she found something rather appalling in the drawing of the legs and feet, something that repelled and shocked her. She and her brother almost quarrelled about this picture. He wanted it and she did not want it in the house. Sagot gathering a little of the discussion said, but that is alright if you do not like the legs and feet it is very easy to guillotine her and only take the head. No that would not do, everybody agreed, and nothing was decided.
Gertrude Stein and her brother continued to be very divided in this matter and they were very angry with each other. Finally it was agreed that since he, the brother, wanted it so badly they would buy it, and in this way the first Picasso was brought into the rue de Fleurus.
It was just about this time that Raymond Duncan, the brother of Isadora, rented an atelier in the rue de Fleurus. Raymond had just come back from his first trip to Greece and had brought back with him a greek girl and greek clothes. Raymond had known Gertrude Stein’s elder brother and his wife in San Francisco. At that time Raymond was acting as advance agent for Emma Nevada who had also with her Pablo Casals the violincellist, at that time quite unknown.
The Duncan family had been then at the Omar Khayyám stage, they had not yet gone greek. They had after that gone italian renaissance, but now Raymond had gone completely greek and this included a greek girl. Isadora lost interest in him, she found the girl too modern a greek. At any rate Raymond was at this time without any money at all and his wife was enceinte. Gertrude Stein gave him coal and a chair for Penelope to sit in, the rest sat on packing cases. They had another friend who helped them, Kathleen Bruce, a very beautiful, very athletic English girl, a kind of sculptress, she later married and became the widow of the discoverer of the South Pole, Scott. She had at that time no money to speak of either and she used to bring a half portion of her dinner every evening for Penelope. Finally Penelope had her baby, it was named Raymond because when Gertrude Stein’s brother and Raymond Duncan went to register it they had not thought of a name. Now he is against his will called Menalkas but he might be gratified if he knew that legally he is Raymond. However that is another matter.
Kathleen Bruce was a sculptress and she was learning to model figures of children and she asked to do a figure of Gertrude Stein’s nephew. Gertrude Stein and her nephew went to Kathleen Bruce’s studio. There they, one afternoon, met H. P. Roché. Roché was one of those characters that are always to be found in Paris. He was a very earnest, very noble, devoted, very faithful and very enthusiastic man who was a general introducer. He knew everybody, he really knew them and he could introduce anybody to anybody. He was going to be a writer. He was tall and red-headed and he never said anything but good good excellent and he lived with his mother and his grandmother. He had done a great many things, he had gone to the austrian mountains with the austrians, he had gone to Germany with the germans and he had gone to Hungary with hungarians and he had gone to England with the english. He had not gone to Russia although he had been in Paris with russians. As Picasso always said of him, Roché is very nice but he is only a translation.
Later he was often at 27 rue de Fleurus with various nationalities and Gertrude Stein rather liked him. She always said of him he is so faithful, perhaps one need never see him again but one knows that somewhere Roché is faithful. He did give her one delightful sensation in the very early days of their acquaintance. Three Lives, Gertrude Stein’s first book was just then being written and Roché who could read english was very impressed by it. One day Gertrude Stein was saying something about herself and Roché said good good excellent that is very important for your biography. She was terribly touched, it was the first time that she really realised that some time she would have a biography. It is quite true that although she has not seen him for years somewhere Roché is probably perfectly faithful.
But to come back to Roché at Kathleen Bruce’s studio. They all talked about one thing and another and Gertrude Stein happened to mention that they had just bought a picture from Sagot by a young spaniard named Picasso. Good good excellent, said Roché, he is a very interesting young fellow, I know him. Oh do you, said Gertrude Stein, well enough to take somebody to see him. Why certainly, said Roché. Very well, said Gertrude Stein, my brother I know is very anxious to make his acquaintance. And there and then the appointment was made and shortly after Roché and Gertrude Stein’s brother went to see Picasso.
It was only a very short time after this that Picasso began the portrait of Gertrude Stein, now so widely known, but just how that came about is a little vague in everybody’s mind. I have heard Picasso and Gertrude Stein talk about it often and they neither of them can remember. They can remember the first time that Picasso dined at the rue de Fleurus and they can remember the first time Gertrude Stein posed for her portrait at rue Ravignan but in between there is a blank. How it came about they do not know. Picasso had never had anybody pose for him since he was sixteen years old, he was then twenty-four and Gertrude Stein had never thought of having her portrait painted, and they do not either of them know how it came about. Anyway it did and she posed to him for this portrait ninety times and a great deal happened during that time. To go back to all the first times.
Picasso and Fernande came to dinner, Picasso in those days was, what a dear friend and schoolmate of mine, Nellie Jacot, called, a good-looking bootblack. He was thin dark, alive with big pools of eyes and a violent but not rough way. He was sitting next to Gertrude Stein at dinner and she took up a piece of bread. This, said Picasso, snatching it back with violence, this piece of bread is mine. Sh
e laughed and he looked sheepish. That was the beginning of their intimacy.
That evening Gertrude Stein’s brother took out portfolio after portfolio of japanese prints to show Picasso, Gertrude Stein’s brother was fond of japanese prints. Picasso solemnly and obediently looked at print after print and listened to the descriptions. He said under his breath to Gertrude Stein, he is very nice, your brother, but like all americans, like Haviland, he shows you japanese prints. Moi j’aime pas ça, no I don’t care for it. As I say Gertrude Stein and Pablo Picasso immediately understood each other.
Then there was the first time of posing. The atelier of Picasso I have already described. In those days there was even more disorder, more coming and going, more red-hot fire in the stove, more cooking and more interruptions. There was a large broken armchair where Gertrude Stein posed. There was a couch where everybody sat and slept. There was a little kitchen chair upon which Picasso sat to paint, there was a large easel and there were many very large canvases. It was at the height of the end of the Harlequin period when the canvases were enormous, the figures also, and the groups.
There was a little fox terrier there that had something the matter with it and had been and was again about to be taken to the veterinary. No frenchman or frenchwoman is so poor or so careless or so avaricious but that they can and do constantly take their pet to the vet.
Fernande was as always, very large, very beautiful and very gracious. She offered to read La Fontaine’s stories aloud to amuse Gertrude Stein while Gertrude Stein posed. She took her pose, Picasso sat very tight on his chair and very close to his canvas and on a very small palette which was of a uniform brown grey colour, mixed some more brown grey and the painting began. This was the first of some eighty or ninety sittings.
Toward the end of the afternoon Gertrude Stein’s two brothers and her sister-in-law and Andrew Green came to see. They were all excited at the beauty of the sketch and Andrew Green begged and begged that it should be left as it was. But Picasso shook his head and said, non.
It is too bad but in those days no one thought of taking a photograph of the picture as it was then and of course no one of the group that saw it then remembers at all what it looked like any more than do Picasso or Gertrude Stein.
Andrew Green, none of them knew how they had met Andrew Green, he was the great-nephew of Andrew Green known as the father of Greater New York. He had been born and reared in Chicago but he was a typical tall gaunt new englander, blond and gentle. He had a prodigious memory and could recite all of Milton’s Paradise Lost by heart and also all the translations of chinese poems of which Gertrude Stein was very fond. He had been in China and he was later to live permanently in the South Sea islands after he finally inherited quite a fortune from his great-uncle who was fond of Milton’s Paradise Lost. He had a passion for oriental stuffs. He adored as he said a simple centre and a continuous design. He loved pictures in museums and he hated everything modern. Once when during the family’s absence he had stayed at the rue de Fleurus for a month, he had outraged Hélène’s feelings by having his bed-sheets changed every day and covering all the pictures with cashmere shawls. He said the pictures were very restful, he could not deny that, but he could not bear it. He said that after the month was over that he had of course never come to like the new pictures but the worst of it was that not liking them he had lost his taste for the old and he never again in his life could go to any museum or look at any picture. He was tremendously impressed by Fernande’s beauty. He was indeed quite overcome. I would, he said to Gertrude Stein, if I could talk french, I would make love to her and take her away from that little Picasso. Do you make love with words, laughed Gertrude Stein. He went away before I came to Paris and he came back eighteen years later and he was very dull.
This year was comparatively a quiet one. The Matisses were in the South of France all winter, at Collioure on the Mediterranean coast not far from Perpignan, where Madame Matisse’s people lived. The Raymond Duncans had disappeared after having been joined first by a sister of Penelope who was a little actress and was very far from being dressed greek, she was as nearly as she possibly could be a little Parisian. She had accompanying her a very large dark greek cousin. He came in to see Gertrude Stein and he looked around and he announced, I am greek, that is the same as saying that I have perfect taste and I do not care for any of these pictures. Very shortly Raymond, his wife and baby, the sister-in-law and the greek cousin disappeared out of the court at 27 rue de Fleurus and were succeeded by a german lady.
This german lady was the niece and god-daughter of german field-marshals and her brother was a captain in the german navy. Her mother was english and she herself had played the harp at the bavarian court. She was very amusing and had some strange friends, both english and french. She was a sculptress and she made a typical german sculpture of little Roger, the concierge’s boy. She made three heads of him, one laughing, one crying and one sticking out his tongue, all three together on one pedestal. She sold this piece to the royal museum at Potsdam. The concierge during the war often wept at the thought of her Roger being there, sculptured, in the museum at Potsdam. She invented clothes that could be worn inside out and taken to pieces and be made long or short and she showed these to everybody with great pride. She had as an instructor in painting a weird looking frenchman one who looked exactly like the pictures of Huckleberry Finn’s father. She explained that she employed him out of charity, he had won a gold medal at the salon in his youth and after that had had no success. She also said that she never employed a servant of the servant class. She said that decayed gentlewomen were more appetising and more efficient and she always had some widow of some army officer or functionary sewing or posing for her. She had an austrian maid for a while who cooked perfectly delicious austrian pastry but she did not keep her long. She was in short very amusing and she and Gertrude Stein used to talk to each other in the court. She always wanted to know what Gertrude Stein thought of everybody who came in and out. She wanted to know if she came to her conclusions by deduction, observation, imagination or analysis. She was amusing and then she disappeared and nobody thought anything about her until the war came and then everybody wondered if after all there had not been something sinister about this german woman’s life in Paris.
Practically every afternoon Gertrude Stein went to Montmartre, posed and then later wandered down the hill usually walking across Paris to the rue de Fleurus. She then formed the habit which has never left her of walking around Paris, now accompanied by the dog, in those days alone. And Saturday evenings the Picassos walked home with her and dined and then there was Saturday evening.
During these long poses and these long walks Gertrude Stein meditated and made sentences. She was then in the middle of her negro story Melanctha Herbert, the second story of Three Lives and the poignant incidents that she wove into the life of Melanctha were often these she noticed in walking down the hill from the rue Ravignan.
It was at that time that the hungarians began their pilgrimages to the rue de Fleurus. There were strange groups of americans then, Picasso unaccustomed to the virginal quality of these young men and women used to say of them, ils sont pas des hommes, ils sont pas des femmes, ils sont des américains. They are not men, they are not women, they are americans. Once there was a Bryn Mawr woman there, wife of a well known portrait painter, who was very tall and beautiful and having once fallen on her head had a strange vacant expression. Her, he approved of, and used to call the Empress. There was a type of american art student, male, that used very much to afflict him, he used to say no it is not he who will make the future glory of America. He had a characteristic reaction when he saw the first photograph of a skyscraper. Good God, he said, imagine the pangs of jealousy a lover would have while his beloved came up all those flights of stairs to his top story studio.
It was at this time that a Maurice Denis, a Toulouse-Lautrec and many enormous Picassos were added to the collection. It was at this time also that the acquaintance and
friendship with the Vallotons began.
Vollard once said when he was asked about a certain painter’s picture, oh ça c’est un Cézanne pour les pauvres, that is a Cézanne for the poor collector. Well Valloton was a Manet for the impecunious. His big nude had all the hardness, the stillness and none of the quality of the Olympe of Manet and his portraits had the aridity but none of the elegance of David. And further he had the misfortune of having married the sister of an important picture-dealer. He was very happy with his wife and she was a very charming woman but then there were the weekly family reunions, and there was also the wealth of his wife and the violence of his step-sons. He was a gentle soul, Valloton, with a keen wit and a great deal of ambition but a feeling of impotence, the result of being the brother-in-law of picture dealers. However for a time his pictures were very interesting. He asked Gertrude Stein to pose for him. She did the following year. She had come to like posing, the long still hours followed by a long dark walk intensified the concentration with which she was creating her sentences. The sentences of which Marcel Brion, the french critic has written, by exactitude, austerity, absence of variety in light and shade, by refusal of the use of the subconscious Gertrude Stein achieves a symmetry which has a close analogy to the symmetry of the musical fugue of Bach.
She often described the strange sensation she had as a result of the way in which Valloton painted. He was not at that time a young man as painters go, he had already had considerable recognition as a painter in the Paris exposition of 1900. When he painted a portrait he made a crayon sketch and then began painting at the top of the canvas straight across. Gertrude Stein said it was like pulling down a curtain as slowly moving as one of his swiss glaciers. Slowly he pulled the curtain down and by the time he was at the bottom of the canvas, there you were. The whole operation took about two weeks and then he gave the canvas to you. First however he exhibited it in the autumn salon and it had considerable notice and everybody was pleased.