Sarah Stein

Sarah Stein
Sarah Stein
Born July 26, 1870(1870-07-26)
San Francisco, California, United States
Died 1953 (aged 82–83)
San Francisco
Occupation Collector
Nationality American
Period 20th century
Subjects Modernism

Sarah Stein (Sarah Samuels before), was born on July 26, 1870 San Francisco. She married Michael Stein on March 1894.[1] She was the outspoken and academically successful daughter of a wealthy German Jewish merchant.[2] She was given the nickname "Sally" by Jack London. She gave birth to Allan Daniel Stein on November 1, 1895 in San Francisco, only child of the couple. Michael, the older brother of Leo Stein and Gertrude Stein, sold a streetcar business in 1903 and moved with Sarah and Allan to Paris in 1903 and returned to visit after the San Francisco earthquake in 1906 bringing Matisse paintings with them. [3] Sarah and her husband lived mostly in and out of Paris. The couple was well off, educated, and up-to-date. They collected art and tried to keep abreast of the latest trends in education, health, and philosophy.[4] Sarah and Michael moved back to the U.S. in 1935, purchasing a home on Kingsley Ave. in Palo Alto, CA (Sarah Stein, S.Steinberg; American Imago, Fall 2011)

Contents

Collector

Sarah and Michael concentrated almost exclusively on the work of Henri Matisse, beginning with their first purchase (with Leo and Gertrude) of Woman with a Hat at the Salon d'Automne in 1905.[4] Sarah was one of Matisse's staunchest friend and supporters from 1905 until she and her husband left Paris in the 1930s.[5] Sarah and her husband also actively promoted Matisse's career. In 1908, with a little financial help of Michael, Sarah persuaded Matisse to open a school of painting.[4]

Matisse converted his studio at an old convent building on the rue de Sèvres into school in which Mattise could instruct a chosen few. At a time when Matisse's was in considerable economic distress, Sarah made him her hero, and many of her evenings at home with guests became opportunities for her to defend the work of this man who, she was convinced, was a great master.[6]

Sarah took informal instruction from Henri Matisse. In Sarah Stein's notes for the class, the most detailed record of what went on that has survived, Matisse sounded humanistic rather than radical. He stressed the value of working from the antique, and condemned any modern neglect of spiritual values.[7]

She and her husband lived in conventional bourgeois comfort as they accumulated paintings and other objects with as much enthusiasm as Leo and Gertrude Stein. In 1906, on a visit after the San Francisco earthquake, Sarah and her husband brought Matisse's work to America, and later took occasional commissions to secure other examples of his works for American collectors.[7]

Sarah and her husband were among the American who loaned Matisse's work to the 1913 Armory Show, two examples that provided the largest public in America with its first close look at a notorious modernist.[8]

Sarah and her husband also instituted a weekly open house where they showed their growing collection. The popular Saturday evening gathering held at 58 rue Madame, the remodeled parish house into which the elder Steins moved soon after their arrival in Paris, provided Sarah with a captive audience for he disquisitions on Matisse's genius.[4]

Sarah used the open houses as a forum in which to talk about and ideas, but unlike Leo and Gertrude, who disclaimed the role of teacher; Sarah was unfailingly didactic, bossy and insistent that others follow her lead. She demanded absolute allegiance and angrily ridiculed any opinion that conflicted with her own.[4]

Sarah Stein left little evidence of her religious views and was probably secularized a Jew as her sister-in-law. But at least in art, and in the realm of humanities designated by the word "values", Sarah was religious. If she did not attend the synagogue, she did attend to the ways in which works of art could penetrate into the visible world.[7]

Her commitment to the art of Henri Matisse -as a collector of his work, and as his student and friend- was unshakable and resulted in the formation of not only the Stein's own art collection but also of the Cone sisters, Etta and Claribel, in Baltimore for whom she and Michael acquired numerous pictures.[4]

Religion

By 1908 Sarah had embraced the teaching of Christian Science. Sarah became a Christian Science "practitioner" or "healer." The new religion was becoming increasingly popular among educated, progressive women like herself, particularly well-to-do Reform Jews. Sarah Stein possessed a number of qualities that predisposed her to embrace Christian Science: she was anxious about her health and that of her family, open to spiritual and aesthetic experiences, and - like the rest of the Stein - self willed and sure of her own opinions. She could also be a good listener and a sympathetic advisor.[4]

Villa Stein-de Monzie

Sarah and Michael's activities as patrons of art and architecture bear the distinct stamp of Sarah's vibrant personality, her reform-mindedness, her spiritualism, and her proselytizing tendencies. Les Terrases (Villa Stein) at Garches is the largest and most luxurious house that Le Corbusier designed in the 1920s. The house was built for Sarah, Michael and their longtime friend Gabrielle Colaco-Osorio de Monzie (1882–1961) between 1926 and 1928. For the Steins and their friend the house represented a watershed, the realization of many of the aspirations and ideals of their years in Paris. Very little has been published about the contributions of the Steins and Madam de Monzie as clients, or as participants in the process of building this remarkable work of architecture.[4]

It was Christian Science that bought Sarah Stein and Gabrielle de Monzie together some years before they met Le Corbusier, ad their bond forged by their deep commitment to each other motivated them to form a single household. The unique structure of the household, combined with the clients' commitment to modern architecture, art, and religion created a framework within Le Corbusier could develop a new approach to domestic architecture.[4]

Sarah Stein shared many of Le Corbusier's conviction about modern art, about the latest health and exercise regiments, and about the importance of new technology for the contemporary society. The Steins shared their love of art, but they also had in common a fondness for the latest theories on health and fitness, and took up stringent new diets and exercise regiments with enthusiasm. Leo and Sarah in particular were convinced that the way to be free of the depressions and anxieties that troubled them was trough rigorous physical self discipline. The Steins also took interest in psychology and medicine, and Sarah in particular followed her sister-in-law's progress at Radcliffe. Sarah's letters from San Francisco are full of questions about Gertrude's course, she was hungry for information and insecure about her own lack of knowledge. She was plagued by anxieties about her child's health and yet unsure about the right thing to do as good parent.[4]

References

Notes

  1. ^ Brenda Wineapple, Sister Brother: Gertrude and Leo Stein
  2. ^ Alice, Friedman. Women and the Making of the Modern House: A Social and Architectural History. " Being Modern Together: Le Corbusier's Villa Stein-de-Monzie"
  3. ^ Mattew, Stadler. Allan Stein
  4. ^ a b c d e f g h i j Friedman
  5. ^ Alfred, Hamilton Bar. Mattise his art and his public
  6. ^ Robert Morse Cruden. American Salons: encounters with European modernism, 1885-1917
  7. ^ a b c Cruden
  8. ^ Bennard B Perlman; Walter Pach. American artists, authors, and collectors: the Walter Pach letters, 1906-1958.

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