He had really been heroic. As a foreigner, his mother was a pole, his father possibly an italian, it was not at all necessary that he should volunteer to fight. He was a man of full habit, accustomed to a literary life and the delights of the table, and in spite of everything he volunteered. He went into the artillery first. Every one advised this as it was less dangerous and easier than the infantry, but after a while he could not bear this half protection and he changed into the infantry and was wounded in a charge. He was a long time in hospital, recovered a little, it was at this time that we saw him, and finally died on the day of the armistice.
The death of Guillaume Apollinaire at this time made a very serious difference to all his friends apart from their sorrow at his death. It was the moment just after the war when many things had changed and people naturally fell apart. Guillaume would have been a bond of union, he always had a quality of keeping people together, and now that he was gone everybody ceased to be friends. But all that was very much later and now to go back again to the beginning when Gertrude Stein first met Guillaume and Marie Laurencin.
Everybody called Gertrude Stein Gertrude, or at most Mademoiselle Gertrude, everybody called Picasso Pablo and Fernande Fernande and everybody called Guillaume Apollinaire Guillaume and Max Jacob Max but everybody called Marie Laurencin Marie Laurencin.
The first time Gertrude Stein ever saw Marie Laurencin, Guillaume Apollinaire brought her to the rue de Fleurus, not on a Saturday evening, but another evening. She was very interesting. They were an extraordinary pair. Marie Laurencin was terribly near-sighted and of course she never wore eye-glasses, no french woman and few frenchmen did in those days. She used a lorgnette.
She looked at each picture carefully that is, every picture on the line, bringing her eye close and moving over the whole of it with her lorgnette, an inch at a time. The pictures out of reach she ignored. Finally she remarked, as for myself, I prefer portraits and that is of course quite natural, as I myself am a Clouet. And it was perfectly true, she was a Clouet. She had the square thin build of the mediaeval french women in the french primitives. She spoke in a high pitched beautifully modulated voice. She sat down beside Gertrude Stein on the couch and she recounted the story of her life, told that her mother who had always had it in her nature to dislike men had been for many years the mistress of an important personage, had borne her, Marie Laurencin. I have never, she added, dared let her know Guillaume although of course he is so sweet that she could not refuse to like him but better not. Some day you will see her.
And later on Gertrude Stein saw the mother and by that time I was in Paris and I was taken along.
Marie Laurencin, leading her strange life and making her strange art, lived with her mother, who was a very quiet, very pleasant, very dignified woman, as if the two were living in a convent. The small apartment was filled with needlework which the mother had executed after the designs of Marie Laurencin. Marie and her mother acted toward each other exactly as a young nun with an older one. It was all very strange. Later just before the war the mother fell ill and died. Then the mother did see Guillaume Apollinaire and liked him.
After her mother’s death Marie Laurencin lost all sense of stability. She and Guillaume no longer saw each other. A relation that had existed as long as the mother lived without the mother’s knowledge now that the mother was dead and had seen and liked Guillaume could no longer endure. Marie against the advice of all her friends married a german. When her friends remonstrated with her she said, but he is the only one who can give me a feeling of my mother.
Six weeks after the marriage the war came and Marie had to leave the country, having been married to a german. As she told me later when once during the war we met in Spain, naturally the officials could make no trouble for her, her passport made it clear that no one knew who her father was and they naturally were afraid because perhaps her father might be the president of the french republic.
During these war years Marie was very unhappy. She was intensely french and she was technically german. When you met her she would say, let me present to you my husband a boche, I do not remember his name. The official french world in Spain with whom she and her husband occasionally came in contact made things very unpleasant for her, constantly referring to Germany as her country. In the meanwhile Guillaume with whom she was in correspondence wrote her passionately patriotic letters. It was a miserable time for Marie Laurencin.
Finally Madame Groult, the sister of Poiret, coming to Spain, managed to help Marie out of her troubles. She finally divorced her husband and after the armistice returned to Paris, at home once more in the world. It was then that she came to the rue de Fleurus again, this time with Erik Satie. They were both Normans and so proud and happy about it.
In the early days Marie Laurencin painted a strange picture, portraits of Guillaume, Picasso, Fernande and herself. Fernande told Gertrude Stein about it. Gertrude Stein bought it and Marie Laurencin was so pleased. It was the first picture of hers any one had ever bought.
It was before Gertrude Stein knew the rue Ravignan that Guillaume Apollinaire had his first paid job, he edited a little pamphlet about physical culture. And it was for this that Picasso made his wonderful caricatures, including one of Guillaume as an exemplar of what physical culture could do.
And now once more to return to the return from all their travels and to Picasso becoming the head of a movement that was later to be known as the cubists. Who called it cubist first I do not know but very likely it was Apollinaire. At any rate he wrote the first little pamphlet about them all and illustrated it with their paintings.
I can so well remember the first time Gertrude Stein took me to see Guillaume Apollinaire. It was a tiny bachelor’s apartment on the rue des Martyrs. The room was crowded with a great many small young gentlemen. Who, I asked Fernande, are all these little men. They are poets, answered Fernande. I was overcome. I had never seen poets before, one poet yes but not poets. It was on that night too that Picasso, just a little drunk and to Fernande’s great indignation persisted in sitting beside me and finding for me in a spanish album of photographs the exact spot where he was born. I came away with rather a vague idea of its situation.
Derain and Braque became followers of Picasso about six months after Picasso had, through Gertrude Stein and her brother, met Matisse. Matisse had in the meantime introduced Picasso to negro sculpture.
At that time negro sculpture had been well known to curio hunters but not to artists. Who first recognised its potential value for the modern artist I am sure I do not know. Perhaps it was Maillol who came from the Perpignan region and knew Matisse in the south and called his attention to it. There is a tradition that it was Derain. It was also very possible that it was Matisse himself because for many years there was a curio-dealer in the rue de Rennes who always had a great many things of this kind in his window and Matisse often went up the rue de Rennes to go to one of the sketch classes.
In any case it was Matisse who first was influenced, not so much in his painting but in his sculpture, by the african statues and it was Matisse who drew Picasso’s attention to it just after Picasso had finished painting Gertrude Stein’s portrait.
The effect of this african art upon Matisse and Picasso was entirely different. Matisse through it was affected more in his imagination than in his vision. Picasso more in his vision than in his imagination. Strangely enough it is only very much later in his life that this influence has affected his imagination and that may be through its having been re-enforced by the Orientalism of the russians when he came in contact with that through Diaghilev and the russian ballet.
In these early days when he created cubism the effect of the african art was purely upon his vision and his forms, his imagination remained purely spanish. The spanish quality of ritual and abstraction had been indeed stimulated by his painting the portrait of Gertrude Stein. She had a definite impulse then and always toward elemental abstraction. She was not at any time interested in african sculpture.
She always says that she liked it well enough but that it has nothing to do with europeans, that it lacks naïveté, that it is very ancient, very narrow, very sophisticated but lacks the elegance of the egyptian sculpture from which it is derived. She says that as an american she likes primitive things to be more savage.
Matisse and Picasso then being introduced to each other by Gertrude Stein and her brother became friends but they were enemies. Now they are neither friends nor enemies. At that time they were both.
They exchanged pictures as was the habit in those days. Each painter chose the one of the other one that presumably interested him the most. Matisse and Picasso chose each one of the other one the picture that was undoubtedly the least interesting either of them had done. Later each one used it as an example, the picture he had chosen, of the weaknesses of the other one. Very evidently in the two pictures chosen the strong qualities of each painter were not much in evidence.
The feeling between the Picassoites and the Matisseites became bitter. And this, you see, brings me to the independent where my friend and I sat without being aware of it under the two pictures which first publicly showed that Derain and Braque had become Picassoites and were definitely not Matisseites.
In the meantime naturally a great many things had happened.
Matisse showed in every autumn salon and every independent. He was beginning to have a considerable following. Picasso, on the contrarv, never in all his life has shown in any salon. His pictures at that time could really only be seen at 27 rue de Fleurus. The first time as one might say that he had ever shown at a public show was when Derain and Braque, completely influenced by his recent work, showed theirs. After that he too had many followers.
Matisse was irritated by the growing friendship between Picasso and Gertrude Stein. Mademoiselle Gertrude, he explained, likes local colour and theatrical values. It would be impossible for any one of her quality to have a serious friendship with any one like Picasso. Matisse still came frequently to the rue de Fleurus but there was no longer any frankness of intercourse between them all. It was about this time that Gertrude Stein and her brother gave a lunch for all the painters whose pictures were on the wall. Of course it did not include the dead or the old. It was at this lunch that as I have already said Gertrude Stein made them all happy and made the lunch a success by seating each painter facing his own picture. No one of them noticed it, they were just naturally pleased, until just as they were all leaving Matisse, standing up with his back to the door and looking into the room suddenly realised what had been done.
Matisse intimated that Gertrude Stein had lost interest in his work. She answered him, there is nothing within you that fights itself and hitherto you have had the instinct to produce antagonism in others which stimulated you to attack. But now they follow.
That was the end of the conversation but a beginning of an important part of The Making of Americans. Upon this idea Gertrude Stein based some of her most permanent distinctions in types of people.
It was about this time that Matisse began his teaching. He now moved from the Quai Saint-Michel, where he had lived ever since his marriage, to the boulevard des Invalides. In consequence of the separation of church and state which had just taken place in France the french government had become possessed of a great many convent schools and other church property. As many of these convents ceased to exist, there were at that time a great many of their buildings empty. Among others a very splendid one on the boulevard des Invalides.
These buildings were being rented at very low prices because no lease was given, as the government when it decided how to use them permanently would put the tenants out without warning. It was therefore an ideal place for artists as there were gardens and big rooms and they could put up with the inconveniences of housekeeping under the circumstances. So the Matisses moved in and Matisse instead of a small room to work in had an immense one and the two boys came home and they were all very happy. Then a number of those who had become his followers asked him if he would teach them if they organised a class for him in the same building in which he was then living. He consented and the Matisse atelier began.
The applicants were of all nationalities and Matisse was at first appalled at the number and variety of them. He told with much amusement as well as surprise that when he asked a very little woman in the front row, what in particular she had in mind in her painting, what she was seeking, she replied, Monsieur je cherche le neuf. He used to wonder how they all managed to learn french when he knew none of their languages. Some one got hold of some of these facts and made fun of the school in one of the french weeklies. This hurt Matisse’s feelings frightfully. The article said, and where did these people come from, and it was answered, from Massachusetts. Matisse was very unhappy.
But in spite of all this and also in spite of many dissensions the school flourished. There were difficulties. One of the hungarians wanted to earn his living posing for the class and in the intervals when some one else posed go on with his painting. There were a number of young women who protested, a nude model on a model stand was one thing but to have it turn into a fellow student was another. A hungarian was found eating the bread for rubbing out crayon drawings that the various students left on their painting boards and this evidence of extreme poverty and lack of hygiene had an awful effect upon the sensibilities of the americans. There were quite a number of americans. One of these americans under the plea of poverty was receiving his tuition for nothing and then was found to have purchased for himself a tiny Matisse and a tiny Picasso and a tiny Seurat. This was not only unfair, because many of the others wanted and could not afford to own a picture by the master and they were paying their tuition, but, since he also bought a Picasso, it was treason. And then every once in a while some one said something to Matisse in such bad french that it sounded like something very different from what it was and Matisse grew very angry and the unfortunate had to be taught how to apologise properly. All the students were working under such a state of tension that explosions were frequent. One would accuse another of undue influence with the master and then there were long and complicated scenes in which usually some one had to apologise. It was all very difficult since they themselves organised themselves.
Gertrude Stein enjoyed all these complications immensely. Matisse was a good gossip and so was she and at this time they delighted in telling tales to each other.
She began at that time always calling Matisse the C.M. or cher maître. She told him the favourite Western story, pray gentlemen, let there be no bloodshed. Matisse came not unfrequently to the rue de Fleurus. It was indeed at this time that Hélène prepared him the fried eggs instead of an omelet.
Three Lives had been typewritten and now the next thing was to show it to a publisher. Some one gave Gertrude Stein the name of an agent in New York and she tried that. Nothing came of it. Then she tried publishers directly. The only one at all interested was Bobbs-Merrill and they said they could not undertake it. This attempt to find a publisher lasted some time and then without being really discouraged she decided to have it printed. It was not an unnatural thought as people in Paris often did this. Some one told her about the Grafton Press in New York, a respectable firm that printed special historical things that people wanted to have printed. The arrangements were concluded, Three Lives was to be printed and the proofs to be sent.
One day some one knocked at the door and a very nice very american young man asked if he might speak to Miss Stein. She said, yes come in. He said, I have come at the request of the Grafton Press. Yes, she said. You see, he said slightly hesitant, the director of the Grafton Press is under the impression that perhaps your knowledge of english. But I am an american, said Gertrude Stein indignantly. Yes yes I understand that perfectly now, he said, but perhaps you have not had much experience in writing. I suppose, said she laughing, you were under the impression that I was imperfectly educated. He blushed, why no, he said, but you might not have had much experience in writing. Oh yes, she said,
oh yes. Well it’s alright. I will write to the director and you might as well tell him also that everything that is written in the manuscript is written with the intention of its being so written and all he has to do is to print it and I will take the responsibility. The young man bowed himself out.
Later when the book was noticed by interested writers and newspaper men the director of the Grafton Press wrote Gertrude Stein a very simple letter in which he admitted he had been surprised at the notice the book had received but wished to add that now that he had seen the result he wished to say that he was very pleased that his firm had printed the book. But this last was after I came to Paris.
4
Gertrude Stein Before She Came to Paris
Once more I have come to Paris and now I am one of the habitués of the rue de Fleurus. Gertrude Stein was writing The Making of Americans and she had just commenced correcting the proofs of Three Lives. I helped her correct them.
Gertrude Stein was born in Allegheny, Pennsylvania. As I am an ardent californian and as she spent her youth there I have often begged her to be born in California but she has always remained firmly born in Allegheny, Pennsylvania. She left it when she was six months old and has never seen it again and now it now longer exists being all of it Pittsburgh. She used however to delight in being born in Allegheny, Pennsylvania when during the war, in connection with war work, we used to have papers made out and they always immediately wanted to know one’s birth-place. She used to say if she had been really born in California as I wanted her to have been she would never have had the pleasure of seeing the various french officials try to write, Allegheny, Pennsylvania.
Selected Writings of Gertrude Stein Page 9