Matisse, Cézanne, Picasso… The Stein Family

19/09/2011 § 2 Comments

Grand Palais, Galeries nationales

5 October 2011 – 16 January 2012

An exhibition organized by the Rmn-Grand Palais, the San Francisco Museum of Modern Art and the Metropolitan Museum of Art, New York. On show in the San Francisco Museum of Modern Art from 21 May to 6 September 2011, and will be shown at the Metropolitan Museum of Art, New York from 1st February to 3 June 2012.

Barefoot in their Delphic sandals, they raised scientific brows to the sky. Apollinaire [about the Steins], October 1907

The Steins, an American family, moved to Paris in the early 20th century: Gertrude, an avant-garde writer, set up house with her brother Leo, in the rue de Fleurus; her elder brother Michael took a flat with his wife Sarah in the rue Madame. They were the first people to buy Matisses and Picassos and they also received the entire avant-garde into their homes and thus built up one of the most astonishing collections of modern art. The exhibition looks at the history of this out-of-the-ordinary family. It shows how important its patronage was for the artists and how it helped establish a new standard of taste in modern art, through Leo’s view of the sources of modernity and his exchanges with the intellectuals of the time; Gertrude’s friendship with Picasso; Sarah’s relations with Matisse; and the projects that Gertrude developed with artists in the 20s and 30s. It is a major exhibition bringing together an outstanding ensemble of works from the Steins’ various collections: Renoir, Cézanne, Picasso, Matisse, Manguin, Bonnard, Vallotton, Laurencin, Gris, Masson, Picabia…. The eight sections shed light on all the members of the family: Leo, Sarah and Michael, and Gertrude.

Read more here.


§ 2 Responses to Matisse, Cézanne, Picasso… The Stein Family

  • Alida Dries says:

    “What the world really needs is more love and less paper work.” ~ Pearl Bailey

  • Dhiraj says:

    Very important event. Picasso and Matisse and many other owed a great deal to them.
    Picasso breaks many canons of the artistic tradition with his ferocity and distortion but he is dependent on viewer. He is trying to establish a dialogue with her, though from an offensive, brazen and violent perch. The Dance, on the other hand, is self contained. It is a scene that stands on its own, its own energy, its own joy, its own ecstasy. This is a private revelry whose link with the viewer is tenuous.

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