The Letters of Gertrude Stein and Carl Van Vechten

1989 ◽  
Vol 8 (1) ◽  
pp. 121
Author(s):  
Shari Benstock ◽  
Edward Burns ◽  
Gertrude Stein ◽  
Carl Van Vechten
Keyword(s):  
Gertrude Stein ◽  
Carl Van Vechten

scholarly journals Modernist salon culture: the contributions of the Stettheimer sisters in 1920s New York

2021 ◽  
Author(s):  
Stephanie Yumansky
Keyword(s):  
New York ◽  
Gertrude Stein ◽  
Art Making ◽  
Marcel Duchamp ◽  
Sherwood Anderson ◽  
Salon Culture ◽  
Carl Van Vechten ◽  
Francis Picabia ◽  
The Doors

During the 1920s, the Stettheimer sisters Ettie, Florine and Carrie opened the doors of their home in tlie Alwyn Court on West 58th Street, New York, to numerous guests, celebrities, poets and artists including Marcel Duchamp, Francis Picabia, Gaston Lachaise, Elie Nadelm~; and Paul Thevenaz, dancer Adolph Bolm, playwright Avery Hopwood, writer Sherwood Anderson, as well as critics Carl Van Vechten, Henry McBride and Paul Rosenfeld. Rivaling the era's famous salons of Gertrude Stein and Nathalie Barney in Paris, collectively the sisters created a literary and artistic salon in which art making flourished. The distinctly feminine decor served as a backdrop for Florine's paintings on display in the salon; Ettie would describe the vibrant salon culture in her autobiographical and fictional writings; and Carrie's role as sartorial experimenter would be inscribed in the sisters' paintings and writings.

The Objects of Poetry and the Economics of Art

2019 ◽  
pp. 67-128
Author(s):  
Laura Scuriatti
Keyword(s):  
Gertrude Stein ◽  
Ezra Pound ◽  
Culture Industry ◽  
Marianne Moore ◽  
Thing Theory ◽  
Marcel Duchamp ◽  
Carl Van Vechten ◽  
The World ◽  
The Status ◽  
Symbolic Value

This chapter focuses on Loy's ambivalent and subtle understanding of the processes underpinning the creation of the economic and symbolic value of artworks, or the economic and cultural processes validating and sustaining their privileged status. Drawing on modernist aesthetics, critical theory and thing theory, the chapter examines early and later texts in dialogue with works by Marianne Moore, Gertrude Stein, Carl Van Vechten, Marcel Duchamp, Ezra Pound and Walter Benjamin, and shows how Loy proposes a dialogic version of the art work as encounter, collaboration, or event, rather than as a self-contained masterpiece. In this chapter the author analyses the notion of artistic creation as labor, investigates the status of Loy’s poetic objects in relation to the world of commerce and of commodities, and explores Loy’s critical assessment of the author’s signature within the “culture industry”.

ANOTHER COMPLETELY INTERESTING OPERA: ‘THE MOTHER OF US ALL’ PART I: HISTORY AND BACKGROUND

Tempo ◽  
2010 ◽  
Vol 64 (254) ◽  
pp. 2-10
Author(s):  
Rodney Lister
Keyword(s):  
Gertrude Stein ◽  
Pearl Harbor ◽  
Recent Letter ◽  
Carl Van Vechten ◽  
The Subject ◽  
Virgil Thomson

On 5 December 5 1941, two days before the Japanese attack on Pearl Harbor, Virgil Thomson wrote to Gertrude Stein, his friend and the cocreator of their opera Four Saints in Three Acts. The bulk of the letter concerned Thomson's most recent plan for publication of the opera, including details of dividing the royalties and expenses involved in the undertaking (a continual source of disagreement and haggling between them). At the end of the letter, referring to Stein's assurance at the end of her most recent letter to him that the European war would be over soon and that they would soon meet again in Paris, Thomson wrote, ‘… I miss you a great deal but do hope that you are right that we shall be seeing each other soon in Paris. I wouldn't know; I have no prophetic sense about wars … When the war is over we must write another opera. Only we must wait till then, because I don't think we could choose the subject very well by mail'. His next preserved letter to her was almost five years later. In that letter, dated 5 March 1946, Thomson wrote, ‘Carl [Van Vechten] says the opera is nearly finished. I hope so. I want to see it. I pine for it’.

Modernist salon culture: the contributions of the Stettheimer sisters in 1920s New York

2021 ◽  
Author(s):  
Stephanie Yumansky
Keyword(s):  
New York ◽  
Gertrude Stein ◽  
Art Making ◽  
Marcel Duchamp ◽  
Sherwood Anderson ◽  
Salon Culture ◽  
Carl Van Vechten ◽  
Francis Picabia ◽  
The Doors

During the 1920s, the Stettheimer sisters Ettie, Florine and Carrie opened the doors of their home in tlie Alwyn Court on West 58th Street, New York, to numerous guests, celebrities, poets and artists including Marcel Duchamp, Francis Picabia, Gaston Lachaise, Elie Nadelm~; and Paul Thevenaz, dancer Adolph Bolm, playwright Avery Hopwood, writer Sherwood Anderson, as well as critics Carl Van Vechten, Henry McBride and Paul Rosenfeld. Rivaling the era's famous salons of Gertrude Stein and Nathalie Barney in Paris, collectively the sisters created a literary and artistic salon in which art making flourished. The distinctly feminine decor served as a backdrop for Florine's paintings on display in the salon; Ettie would describe the vibrant salon culture in her autobiographical and fictional writings; and Carrie's role as sartorial experimenter would be inscribed in the sisters' paintings and writings.

Gertrude Stein's Transmasculinity

2018 ◽  
Author(s):  
Chris Coffman
Keyword(s):  
Twentieth Century ◽  
Ernest Hemingway ◽  
Pablo Picasso ◽  
False Consciousness ◽  
Mass Consumption ◽  
Museum Exhibits ◽  
Carl Van Vechten ◽  
The Media ◽  
Future Work ◽  
Opening Up

By reading written and visual artefacts of Gertrude Stein’s life, Gertrude Stein’s Transmasculinity reframes earlier scholarship to argue that her gender was transmasculine and that her masculinity was positive rather than a self-hating form of false consciousness. This book considers ways Stein’s masculinity was formed through her relationship with her feminine partner, Alice B. Toklas, and her masculine homosocial bonds with other modernists in her network. This broadens out Eve Kosofsky Sedgwick’s account of “male homosocial bonding” to include all masculine persons, opening up the possibility of examining Stein’s relationship to Toklas; masculine women such as Jane Heap; and men such as Pablo Picasso, Ernest Hemingway, and Carl Van Vechten. The Introduction and first four chapters focus on surfacings of Stein’s masculinity within the visual and the textual: in others’ paintings and photographs of her person; her hermetic writings from the first three decades of the twentieth century; and her self-packaging for mass consumption in The Autobiography of Alice B. Toklas (1933). Whereas the chapter on The Autobiography underscores Toklas’s role in the formation of Stein’s masculinity and success as a modernist, the final three register the vicissitudes of the homosocial bonds at play in her friendships with Picasso, Hemingway, and Van Vechten. The Coda, which cross-reads Stein’s Everybody’s Autobiography (1937) with the media attention two museum exhibits about her attracted between 2011 and 2012, points to possibilities for future work on the implications of her masculine homosocial bonds with Vichy collaborator Bernard Fäy.

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