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.
I “The Big Four”: Manet, Renoir, Degas and Cezanne, the Pillars of Modern Art. Leo Stein, a young American fascinated by European art, moved to Paris in 1902 and developed his eye through discussions with theorists and art historians such as Berenson and attending exhibitions in Paris at the beginning of the century. He formed his own collection based on a specific aesthetic: Manet, Degas, Renoir and Cézanne were the pillars of modern art.
II The Classical Tradition vs Modernity. Leo, joined by his sister, Gertrude, and then by his brother Michael and his wife Sarah, was the impetus behind their first purchases, which showed a taste for a classical form of modernity, descending from Manet and great Italian painting: Manguin, Vallotton, Maurice Denis, and Picassos from the blue and pink periods. He put together an astonishing collection on the classical theme of the reclining nude – including Matisse’s masterlyBlue Nude, Souvenir of Biskra – which reminded him of the powerful scheme of Urbino’s Venus, revisited by Manet’sOlympia.
III The “Fauve” Revelation, 1905 Salon d’Automne. Leo bought Matisse’s La Femme au chapeau (Woman in a Hat), which had caused a scandal at the 1905 Salon d’Automne. It was emblematic of the Steins’ avant-garde approach to collecting. Sarah next bought Matisse’s La Raie verte (The Green Line), another of the misunderstood masterpieces from the mythical Salle des Fauves.








