IotD: The Unexpected Collaboration of Alice B. Toklas and Picasso

Needlepoint might not be what most think of when they think of modernist art, but we’ve actually featured it here before. Below are two examples of Alice B. Toklas’s needlepoint, taken from designs by Pablo Picasso.

alice b toklas picasso needlepoint chairsalice b toklas picasso needlepoint chair 1alice b toklas picasso needlepoint chair 2

Juliet Clark from SFMOMA has a really nice write-up that prominently features these two chairs, including a lengthy excerpt from The Autobiography of Alice B. Toklas that relates the series of events that led to their creation.

The two chairs, before Toklas transformed them, can actually be glimpsed in the famous Man Ray portrait of the two women in their shared home at 27, rue de Fleurus (Alice is sitting in one of them):

man ray portrait stein toklas

Yet another reason to (re)consider Toklas as an accomplished artist in her own right.

Provenance:

Alice B. Toklas (from a design by Pablo Picasso)
Two armchairs, fabric and wood
Source: Beinecke Rare Book & Manuscript Library

Man Ray, c. 1922
Gelatin silver print
Source: National Portrait Gallery, Smithsonian Institution

 

 

IotD: George Platt Lynes Needlepoint

George Platt Lynes needlepoint of Jared French design

The design is a copy of his friend Jared French’s painting Elemental Play (1946).

A closer look at the intricate handiwork:

As well as the original version of Elemental Play:

Jared French Elemental PlayPlatt Lynes recreated the overall composition of French’s painting almost exactly, but along with some alteration in the color scheme, there are several fascinating minor divergences as well. Consider, for example, that Platt Lynes added genitals to the male figure on the left—perhaps not surprising considering how closely associated the photographer has become with his erotic art.

In his tripartite biography Intimate Companions David Leddick records that Platt Lynes took up needlepoint during the six year period (1937 – 1943) he lived with Glenway Wescott and Monroe Wheeler in an unconventional ménage à trois arrangement. Leddick also includes a photo of another example of Platt Lynes’s needlepoint, also designed by French (perhaps the subject of a future post.)

A lesser known but nonetheless fascinating expression of the great photographer’s extensive creative oeuvre.

The cushion is currently for sale; price unknown.

Provenance:

George Platt Lynes (from a design by Jared French)
Needlepoint in wool
Source: Kylix Collection

Jared French, c. 1946
Source: The Red List

Works Cited

Leddick, David. Intimate Companions: A Triography of George Platt Lynes, Paul Cadmus, Lincoln Kirstein, and Their Circle. New York: St. Martin’s, 2000.

IotD: Francis Rose Depicts Stein & Toklas at Home

stein & toklas - sir francis rose

stein and toklas - sir francis rose

Sir Francis Cyril Rose was a titled British painter that Gertrude Stein patronized throughout the 1930’s, but despite her best efforts she was never able to generate much sustained interest in his work and he remains an obscure figure of the era.

And while Rose is certainly no Picasso or even a Matisse, there’s a quality to his art that more immediately compels than the work of either of those more famous artists. I particularly like how he is able to evoke a sense of comfortable queer domesticity at 27 rue de Fleurus, with as much emphasis on Toklas and their beloved dogs as on her famous modern art collection. The Stein glimpsed here is certainly a far cry from, say, the imperious sibyl immortalized by Picasso some twenty years before.

I did a fair amount of research on Rose several years ago in conjunction with a paper I wrote on Samuel M. Steward, and truly, there are aspects of Rose’s life that are stranger than fiction. I’ll have to write up some more information on this curious figure sooner than later.

Provenance

TOP: Gertrude Stein and Alice B. Toklas (1939)
Sir Francis Cyril Rose
Tempera and gouache on cardboard
National Portrait Gallery, Smithsonian Institution

BOTTOM: Gertrude Stein and Alice B. Toklas (1939)
Sir Francis Cyril Rose
Gouache on paper
National Portrait Gallery, Smithsonian Institution

 

IotD: The Many Faces of Charles Henri Ford

I’ve gushed about Deviates, Inc. before, and I can’t help but repost a mini-collection that was posted there yesterday, which contains multiple sketches of young Charles Henri Ford drawn by Pavel Tchelitchew. My guess is that all date from the 1930’s, in the period just after Ford and Tchelitchew met in Paris and embarked on their decades-spanning romantic relationship.

From Ford’s diary, July 1953:

“Twenty years ago tomorrow was the beginning of what has resulted in a twenty-year relationship, constant association, with Pavlik. I wrote Parker [Tyler] then: ‘I’ve found a genius.'”

charles henri ford by tchelitchew 1

charles henri ford by tchelitchew 3

charles henri ford by tchelitchew 2

See the original post at Deviates, Inc here.

WORK CITED

Ford, Charles Henri. Water from a Bucket: A Diary, 1948-1957. New York City: Turtlepoint, 2001.

 

IotD: Soirée by Florine Stettheimer

fssoiree

Before I get too far along, I thought I should specify the painting that serves as the main avatar for this blog: Florine Stettheimer’s Soirée (1917-19), also sometimes known as Studio Party. I’ve long been entranced by Stetteimer’s witty and whimsical sensibility, and when it came to select an image that would best encapsulate the intentions of this blog, her paintings seemed a somewhat inevitable choice. I’m consistently dazzled with how she utilizes minute but sharply observed details to embed narratives within her images, and she’s at her best when depicting groups of individuals interacting with each other within a specific space. A number of her paintings capture this dynamic, but Soirée is my very favorite of them all.

Florine Stettheimer c. 1917-20

Florine Stettheimer c. 1917-20

“Queer modernism” is a necessarily ambiguous term that defies precise definition or categorization, but the overriding dynamic I constantly return to is the emphasis on connection and collaboration. The individuals I generally consider “queer modernists” seemed to actively and intentionally construct extensive relational networks (both professional and often personal in nature), and what is consistently thrilling about studying these figures is how they all seemed to know each other in some way. Queers often served as the key conduits for the promotion of modernist art, and many (most?) of the great, storied salons of the modernist era were held by figures that were queer: Stein and Toklas at 27 rue de Fleurus, Natalie Barney’s Académie des femmes, Carl Van Vechten’s racially desegregated house parties, etc, etc–and while the salon of the three Stettheimer Sisters, the subject of this particular painting, is not as well known today as those three gatherings, it functioned as a vital site of queer modernist expression as well.

I have a number of Stettheimer-related images and material lined up for future “Image of the Day” and other types of posts, but until then the excellent art-oriented blog Venetian Red has a wonderful post on Stettheimer that serves as a nice overview or introduction to the artist, and features a number of high-quality images of her paintings, something which is absolutely essentially to fully appreciate their intricacies and keen visual wit.

Provenance

Soirée (1917-19)
Florine Stettheimer
Oil on Canvas
Yale University Art Gallery
Gift of Joseph Solomon from the estate of Florine Stettheimer

Info Source: Yale Digital Content; Image Source: Venetian Red