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eBook Sister Brother Gertrude and Leo Stein download

by Brenda Wineapple

eBook Sister Brother Gertrude and Leo Stein download ISBN: 0747513031
Author: Brenda Wineapple
Publisher: Trafalgar Square; First Edition edition (May 30, 1996)
Language: English
Pages: 512
ePub: 1996 kb
Fb2: 1584 kb
Rating: 4.5
Other formats: docx mbr doc lrf
Category: Literature
Subcategory: History and Criticism

Devoted, eccentric, and compelling, Gertrude and Leo .

Americans, expatriates, virtually orphans, Gertrude and Leo Stein lived . Brenda Wineapple brilliantly disentwines the record of Stein’s life from the image of it that Stein and her allies created

Brenda Wineapple's SISTER BROTHER tells the story of thedevelopment of a remarkably close and rich relationship betweenGertrude and Leo Stein

Portrays the relationship between Gertrude Stein and her brother Leo. The book describes their patronage of the arts and how they spent their lives shoring up their images.

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Sister Brother : Gertrude and Leo Stein

The name Gertrude Stein conjures up the romanticized Paris of the 1920's. However, for almost two decades before that, Leo and Gertrude Stein had held court to writers and painters at 27, rue de Fleurus in a salon filled with the bright, bold canvases they were purchasing. Brilliant, voluble and profoundly insecure, brother and sister spent most of their lives shoring up their images, each helping to create the other. A complementary and devoted couple, eccentric and compelling, they were constantly together from childhood to adulthood. And then their mutual dependence proved too painful. Leo denounced his sister's work, denounced the painters he had once supported and, in 1914, denounced Paris for a life of uninterrupted solitude. This book presents a little-known but important angle on Gertrude Stein's life and provides a portrait of her gifted brother, Leo. It is the story of the relationship between a brother and a sister, which sheds light on a beguiling and complex couple.
Comments: (5)
Great book that describes these two very influential art collectors in Paris!
How did a young sister and brother from California become the major early patrons of the Parisian avant-garde? Would Matisse and Picasso have become so famous and widely collected if Gertrude and Leo had not purchased, exhibited, and promoted them tirelessly? Every Saturday evening they held an open salon in their Paris flat that served as a gallery for the paintings and sculpture they bought from the most important undiscovered contemporary artists, including also Bonnard, Braque, Laurencin, Lipchitz, Nadelman, Picabia, and Renoir. For Americans (and a number of Russians, Norwegians, Swedes and Italians) visiting Paris in the early twentieth century, the 27, rue de Fleurus residence was a mandatory stop. So many came, you dare not put the book down for fear of losing track of who is who and when and why the Steins encountered them and what effect they had on the ultimately enormous impact of the Steins. Pablo Casals, Mary Cassatt, Mabel Dodge, Marsden Hartley, Henry James, Virgil Thomson, even Leo Tolstoy peripherally enters the narrative via Josiah Willard's relating of the 10 days he spent in the company of the Russian literary superstar.

Baltimore played a big role in the family's history and development. Paternal grandparents Michael and Hannah Stein, arrived there on the Pioneer in 1841 with their four youngest children. Their boat was met by Meyer Stein, their eldest son, who had convinced them to leave Germany and join him in Baltimore. Michael, Leo and Gertrude all spent time there-- embraced and entertained by an extensive network of cousins, aunts and uncles as Johns Hopkins stretched their minds.

The eldest Stein sibling, Michael, was an astute businessman. He acquired ownership of all San Francisco street railways, creating the Omnibus Railroad and Cable Company and developed real estate, providing the funds for the art purchases. In 1904 at the age of thirty-eight, he retired and brought his wife and son to join his youngest siblings in Paris to see what had so excited Gertrude and Leo. Michael and Sarah toured museums and galleries under the tutelage of Gertrude and Leo, read a few of Leo's art books and listened to their endless discussions of art. Leo wrote to a friend, "Mike and Sarah are becoming more devotedly Parisian every day and are gradually burrowing deep into the museums." Michael still managed the finances of Gertrude and Leo, freeing them from the necessity to ever work. Soon, Sarah had her own flat and held her salon on Saturdays, showing art by several of the same artists. She felt competitive with her husband's intellectual young siblings and became "ecstatic" about Matisse when his paintings became too expensive for Leo and Gertrude to purchase his new work.

Matisse dismissed the new style of Picasso and Braque, calling it "cubism." Cubism later became "the prism through which Gertrude and Leo Stein would refract their profound disappointment with each other." The rift of the brother and sister in 1914 required a division of the joint art collection. Leo took the Renoirs. The Cezannes were divided into half for each and Leo was sufficiently disinterested in all the other artists to let Gertrude keep them when he relocated to Tuscany. As Gertrude rose from success to success, Leo experienced failure after failure, cementing their estrangement.

The author plumbs the psychology and education that made the sister and brother such passionate collectors and advocates of the Paris avant garde. This book painstakingly follows Gertrude's and Leo's intellectual development through its twists and turns making it the ideal preparation for a pair of major 2011 exhibits at San Francisco's Museum of Modern Art (SFMOMA) and the Contemporary Jewish Museum (CJM). "The Steins Collect" brought significant attention to the contribution of the Stein siblings. "Seeing Gertrude Stein: Five Stories" focuses on Gertrude's life, writing and influence on artists, writers and composers during the early 20th century. When the pair leave San Francisco in the fall of 2011, they will travel in different directions. The SFMOMA exhibit will go on view at Paris' Galleries Nationals du Grand Palais in the fall and New York's Metropolitan Museum in the first half of 2012. The CJM exhibition will open at the National Portrait Gallery in Washington, DC. Only San Francisco got the pair together in a rich tandem.
Brenda Wineapple's SISTER BROTHER tells the story of thedevelopment of a remarkably close and rich relationship betweenGertrude and Leo Stein. Gertrude -- writer, esthetic innovator, feminist precursor-- and her brother Leo -- art collector extraordinaire, scholar manque--were a remarkable pair. From their childhood in a family bereft of its mother, through years in the heady intellectual atmosphere of turn-of-the-century Harvard and Johns Hopkins, Leo and Gertrude depended on one another and grew along similar paths. When they settled in Paris, their apartment became the center for all who wished to know about modern painting: about Cezanne, Picasso, Matisse, all of whose paintings hung in profusion on their walls.
But what hangs together-- whether brother and sister, or a great art collection -- can come undone, and it is the glory of this joint biography that Wineapple so carefully and tenderly traces the forces -- sexual appetites and obsessions, intellectual competitions, the powerful dialectic between dependence and autonomy -- which led to an absolute rupture between Leo and Gertrude, a rupture so complete that they never talked or wrote to one another again, for a period of thirty years. In those thirty years Gertrude became a central force in modern literature, while Leo subsided from the world into fad diets and unfinished projects. And yet, and yet: Wineapple does not sit in judgement, and it is the triumph of this book that Leo's many failures are as human, and as touching, and Gertrude's many successes: the reader ends up seeing ythe weaknesses of both, yet greatly admiring both.
The subject of the book, finally, is not Gertrude and Leo, but the strange, tender, and torrential emotions that run between brothers and sisters, and the many routes through life which lead either to social failure or social success.
This book doesn't present any great revelations and certainly won't surprise those already familiar with the egomaniacal Ms. Stein but for anyone who has suffered the pains of sibling rifts this is any interesting read. Both brother and sister are tortured and pathetic in their own ways, Gertrude for having stubbornly believed she was a literary genius (a delusion I doubt fostered by very many today with the value of her literary contributions negligible) and Leo for having simply been a neurotic posterchild who couldn't go on with his life after their separation. This is a better book still because it does not focus on Gertrude's non-existent literary legacy but instead chooses to reveal two lives both richly interesting and complex and yet with a bitter vulnerability.
I was always under the wrong impression why Gertrude dropped out of medical school, or didn't get her medical degree. This explains everything, and my impression of Gertrude has increased a 100-fold, and I always liked her.

Besides a great biography of Leo and Gertrude, the author provides great history of Harvard, Johns Hopkins, Bryn Mawr, etc.

A very delightful book; highly recommended.