But the essential thing, the treatment of the houses was essentially spanish and therefore essentially Picasso. In these pictures he first emphasised the way of building in spanish villages, the line of the houses not following the landscape but cutting across and into the landscape, becoming undistinguishable in the landscape by cutting across the landscape. It was the principle of the camouflage of the guns and the ships in the war. The first year of the war, Picasso and Eve, with whom he was living then, Gertrude Stein and myself, were walking down the boulevard Raspail a cold winter evening. There is nothing in the world colder than the Raspail on a cold winter evening, we used to call it the retreat from Moscow. All of a sudden down the street came some big cannon, the first any of us had seen painted, that is camouflaged. Pablo stopped, he was spell-bound. C’est nous qui avons fait ça, he said, it is we that have created that, he said. And he was right, he had. From Cézanne through him they had come to that. His foresight was justified.
But to go back to the three landscapes. When they were first put up on the wall naturally everybody objected. As it happened he and Fernande had taken some photographs of the villages which he had painted and he had given copies of these photographs to Gertrude Stein. When people said that the few cubes in the landscapes looked like nothing but cubes, Gertrude Stein would laugh and say, if you had objected to these landscapes as being too realistic there would be some point in your objection. And she would show them the photographs and really the pictures as she rightly said might be declared to be too photographic a copy of nature. Years after Elliot Paul at Gertrude Stein’s suggestion had a photograph of the painting by Picasso and the photographs of the village reproduced on the same page in transition and it was extraordinarily interesting. This then was really the beginning of cubism. The colour too was characteristically spanish, the pale silver yellow with the faintest suggestion of green, the colour afterwards so well known in Picasso’s cubist pictures, as well as in those of his followers.
Gertrude Stein always says that cubism is a purely spanish conception and only spaniards can be cubists and that the only real cubism is that of Picasso and Juan Gris. Picasso created it and Juan Gris permeated it with his clarity and his exaltation. To understand this one has only to read the life and death of Juan Gris by Gertrude Stein, written upon the death of one of her two dearest friends, Picasso and Juan Gris, both spaniards.
She always says that americans can understand spaniards. That they are the only two western nations that can realise abstraction. That in americans it expresses itself by disembodiedness, in literature and machinery, in Spain by ritual so abstract that it does not connect itself with anything but ritual.
I always remember Picasso saying disgustedly apropos of some germans who said they liked bull-fights, they would, he said angrily, they like bloodshed. To a Spaniard it is not bloodshed, it is ritual.
Americans, so Gertrude Stein says, are like spaniards, they are abstract and cruel. They are not brutal they are cruel. They have no close contact with the earth such as most europeans have. Their materialism is not the materialism of existence, of possession, it is the materialism of action and abstraction. And so cubism is spanish.
We were very much struck, the first time Gertrude Stein and I went to Spain, which was a year or so after the beginning of cubism, to see how naturally cubism was made in Spain. In the shops in Barcelona instead of post cards they had square little frames and inside it was placed a cigar, a real one, a pipe, a bit of handkerchief etcetera, all absolutely the arrangement of many a cubist picture and helped out by cut paper representing other objects. That is the modern note that in Spain had been done for centuries.
Picasso in his early cubist pictures used printed letters as did Juan Gris to force the painted surface to measure up to something rigid, and the rigid thing was the printed letter. Gradually instead of using the printed thing they painted the letters and all was lost, it was only Juan Gris who could paint with such intensity a printed letter that it still made the rigid contrast. And so cubism came little by little but it came.
It was in these days that the intimacy between Braque and Picasso grew. It was in these days that Juan Gris, a raw rather effusive youth came from Madrid to Paris and began to call Picasso cher maître to Picasso’s great annoyance. It was apropos of this that Picasso used to address Braque as cher maître, passing on the joke, and I am sorry to say that some foolish people have taken this joke to mean that Picasso looked up to Braque as a master.
But I am once more running far ahead of those early Paris days when I first knew Fernande and Pablo.
In those days then only the three landscapes had been painted and he was beginning to paint some heads that seemed cut out in planes, also long loaves of bread.
At this time Matisse, the school still going on, was really beginning to be fairly well known, so much so that to everybody’s great excitement Bernheim jeune, a very middle class firm indeed, was offering him a contract to take all his work at a very good price. It was an exciting moment.
This was happening because of the influence of a man named Fénéon. Il est très fin, said Matisse, much impressed by Fénéon. Fénéon was a journalist, a french journalist who had invented the thing called a feuilleton en deux lignes, that is to say he was the first one to hit off the news of the day in two lines. He looked like a caricature of Uncle Sam made french and he had been painted standing in front of a curtain in a circus picture by Toulouse-Lautrec.
And now the Bernheims, how or wherefor I do not know, taking Fénéon into their employ, were going to connect themselves with the new generation of painters.
Something happened, at any rate this contract did not last long, but for all that it changed the fortunes of Matisse. He now had an established position. He bought a house and some land in Clamart and he started to move out there. Let me describe the house as I saw it.
This home in Clamart was very comfortable, to be sure the bath-room, which the family much appreciated from long contact with americans, although it must be said that the Matisses had always been and always were scrupulously neat and clean, was on the ground floor adjoining the dining room. But that was alright, and is and was a french custom, in french houses. It gave more privacy to a bath-room to have it on the ground floor. Not so long ago in going over the new house Braque was building the bath-room was again below, this time underneath the dining room. When we said, but why, they said because being nearer the furnace it would be warmer.
The grounds at Clamart were large and the garden was what Matisse between pride and chagrin called un petit Luxembourg. There was also a glass forcing house for flowers. Later they had begonias in them that grew smaller and smaller. Beyond were lilacs and still beyond a big demountable studio. They liked it enormously. Madame Matisse with simple recklessness went out every day to look at it and pick flowers, keeping a cab waiting for her. In those days only millionaires kept cabs waiting and then only very occasionally.
They moved out and were very comfortable and soon the enormous studio was filled with enormous statues and enormous pictures. It was that period of Matisse. Equally soon he found Clamart so beautiful that he could not go home to it, that is when he came into Paris to his hour of sketching from the nude, a thing he had done every afternoon of his life ever since the beginning of things, and he came in every afternoon. His school no longer existed, the government had taken over the old convent to make a Lycée of it and the school had come to an end.
These were the beginning of very prosperous days for the Matisses. They went to Algeria and they went to Tangiers and their devoted german pupils gave them Rhine wines and a very fine black police dog, the first of the breed that any of us had seen.
And then Matisse had a great show of his pictures in Berlin. I remember so well one spring day, it was a lovely day and we were to lunch at Clamart with the Matisses. When we got there they were all standing around an enormous packing case with its top off. We went up and joined them and there in the packing cas
e was the largest laurel wreath that had ever been made, tied with a beautiful red ribbon. Matisse showed Gertrude Stein a card that had been in it. It said on it, To Henri Matisse, Triumphant on the Battlefield of Berlin, and was signed Thomas Whittemore. Thomas Whittemore was a bostonian archeologist and professor at Tufts College, a great admirer of Matisse and this was his tribute. Said Matisse, still more rueful, but I am not dead yet. Madame Matisse, the shock once over said, but Henri look, and leaning down she plucked a leaf and tasted it, it is real laurel, think how good it will be in soup. And, said she still further brightening, the ribbon will do wonderfully for a long time as hair ribbon for Margot.
The Matisses stayed in Clamart more or less until the war. During this period they and Gertrude Stein were seeing less and less of each other. Then after the war broke out they came to the house a good deal. They were lonesome and troubled, Matisse’s family in Saint-Quentin, in the north, were within the german lines and his brother was a hostage. It was Madame Matisse who taught me how to knit woollen gloves. She made them wonderfully neatly and rapidly and I learned to do so too. Then Matisse went to live in Nice and in one way and another, although remaining perfectly good friends, Gertrude Stein and the Matisses never see each other.
The Saturday evenings in those early days were frequented by many hungarians, quite a number of germans, quite a few mixed nationalities, a very thin sprinkling of americans and practically no english. These were to commence later, and with them came aristocracy of all countries and even some royalty.
Among the germans who used to come in those early days was Pascin. He was at that time a thin brilliant-looking creature, he already had a considerable reputation as maker of neat little caricatures in Simplicissimus, the most lively of the german comic papers. The other germans told strange stories of him. That he had been brought up in a house of prostitution of unknown and probably royal birth, etcetera.
He and Gertrude Stein had not met since those early days but a few years ago they saw each other at the vernissage of a young dutch painter Kristians Tonny who had been a pupil of Pascin and in whose work Gertrude Stein was then interested. They liked meeting each other and had a long talk.
Pascin was far away the most amusing of the germans although I cannot quite say that because there was Uhde.
Uhde was undoubtedly well born, he was not a blond german, he was a tallish thin dark man with a high forehead and an excellent quick wit. When he first came to Paris he went to every antiquity shop and bric-à-brac shop in the town in order to see what he could find. He did not find much, he found what purported to be an Ingres, he found a few very early Picassos, but perhaps he found other things. At any rate when the war broke out he was supposed to have been one of the super spies and to have belonged to the german staff.
He was said to have been seen near the french war office after the declaration of war, undoubtedly he and a friend had a summer home very near what was afterward the Hindenburg line. Well at any rate he was very pleasant and very amusing. He it was who was the first to commercialise the douanier Rousseau’s pictures. He kept a kind of private art shop. It was here that Braque and Picasso went to see him in their newest and roughest clothes and in their best Cirque Médrano fashion kept up a constant fire of introducing each other to him and asking each other to introduce each other.
Uhde used often to come Saturday evening accompanied by very tall blond good-looking young men who clicked their heels and bowed and then all evening stood solemnly at attention. They made a very effective background to the rest of the crowd. I remember one evening when the son of the great scholar Bréal and his very amusing clever wife brought a spanish guitarist who wanted to come and play. Uhde and his bodyguard were the background and it came on to be a lively evening, the guitarist played and Manolo was there. It was the only time I ever saw Manolo the sculptor, by that time a legendary figure in Paris. Picasso very lively undertook to dance a southern spanish dance not too respectable, Gertrude Stein’s brother did the dying dance of Isadora, it was very lively, Fernande and Pablo got into a discussion about Frédéric of the Lapin Agile and apaches. Fernande contended that the apaches were better than the artists and her forefinger went up in the air. Picasso said, yes apaches of course have their universities, artists do not. Fernande got angry and shook him and said, you are witty, but you are only stupid. He ruefully showed that she had shaken off a button and she very angry said, and you, your only claim to distinction is that you are a precocious child. Things were not in those days going any too well between them, it was just about the time that they were quitting the rue Ravignan to live in an apartment in the boulevard Clichy, where they were to have a servant and to be prosperous.
But to return to Uhde and first to Manolo. Manolo was perhaps Picasso’s oldest friend. He was a strange Spaniard. He, so the legend said, was the brother of one of the greatest pickpockets in Madrid. Manolo himself was gentle and admirable. He was the only person in Paris with whom Picasso spoke spanish. All the other spaniards had french wives or french mistresses and having so much the habit of speaking french they always talked french to each other. This always seemed very strange to me. However Picasso and Manolo always talked spanish to each other.
There were many stories about Manolo, he had always loved and he had always lived under the protection of the saints. They told the story of how when he first came to Paris he entered the first church he saw and there he saw a woman bring a chair to some one and receive money. So Manolo did the same, he went into many churches and always gave everybody a chair and always got money, until one day he was caught by the woman whose business it was and whose chairs they were and there was trouble.
He once was hard up and he proposed to his friends to take lottery tickets for one of his statues, everybody agreed, and then when everybody met they found they all had the same number. When they reproached him he explained that he did this because he knew his friends would be unhappy if they did not all have the same number. He was supposed to have left Spain while he was doing his military service, that is to say he was in the cavalry and he went across the border, and sold his horse and his accoutrement, and so had enough money to come to Paris and be a sculptor. He once was left for a few days in the house of a friend of Gauguin. When the owner of the house came back all his Gauguin souvenirs and all his Gauguin sketches were gone. Manolo had sold them to Vollard and Vollard had to give them back. Nobody minded. Manolo was like a sweet crazy religiously uplifted spanish beggar and everybody was fond of him. Moréas, the greek poet, who in those days was a very well known figure in Paris was very fond of him and used to take him with him for company whenever he had anything to do. Manolo always went in hopes of getting a meal but he used to be left to wait while Moréas ate. Manolo was always patient and always hopeful although Moréas was as well known then as Guillaume Apollinaire was later, to pay rarely or rather not at all.
Manolo used to make statues for joints in Montmartre in return for meals etcetera, until Alfred Stieglitz heard of him and showed his things in New York and sold some of them and then Manolo returned to the french frontier, Céret and there he has lived ever since, turning night into day, he and his catalan wife.
But Uhde. Uhde one Saturday evening presented his fiancée to Gertrude Stein. Uhde’s morals were not all that they should be and as his fiancée seemed a very well to do and very conventional young woman we were all surprised. But it turned out that it was an arranged marriage. Uhde wished to respectabilise himself and she wanted to come into possession of her inheritance, which she could only do upon marriage. Shortly after she married Uhde and shortly after they were divorced. She then married Delaunay the painter who was just then coming into the foreground. He was the founder of the first of the many vulgarisations of the cubist idea, the painting of houses out of plumb, what was called the catastrophic school.
Delaunay was a big blond frenchman. He had a lively little mother. She used to come to the rue de Fleurus with old vicomtes who looked exactly li
ke one’s youthful idea of what an old french marquis should look like. These always left their cards and then wrote a solemn note of thanks and never showed in any way how entirely out of place they must have felt. Delaunay himself was amusing. He was fairly able and inordinately ambitious. He was always asking how old Picasso had been when he had painted a certain picture. When he was told he always said, oh I am not as old as that yet. I will do as much when I am that age.
As a matter of fact he did progress very rapidly. He used to come a great deal to the rue de Fleurus. Gertrude Stein used to delight in him. He was funny and he painted one rather fine picture, the three graces standing in front of Paris, an enormous picture in which he combined everybody’s ideas and added a certain french clarity and freshness of his own. It had a rather remarkable atmosphere and it had a great success. After that his pictures lost all quality, they grew big and empty or small and empty. I remember his bringing one of these small ones to the house, saying, look I am bringing you a small picture, a jewel. It is small, said Gertrude Stein, but is it a jewel.
It was Delaunay who married the ex-wife of Uhde and they kept up quite an establishment. They took up Guillaume Apollinaire and it was he who taught them how to cook and how to live. Guillaume was extraordinary. Nobody but Guillaume, it was the italian in Guillaume, Stella the New York painter could do the same thing in his early youth in Paris, could make fun of his hosts, make fun of their guests, make fun of their food and spur them to always greater and greater effort.
Selected Writings of Gertrude Stein Page 12