Stein’s Translation of Art to Literature
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document in english
literature
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date published 03/05/2008
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SummaryBecause Gertrude Stein works within the medium of writing instead of painting, it is easier for her audience to view her separate from Cubism or Post-Impressionism though it still stands that they influenced her. She shares many values and ideals held by the members of those two painterly movements but do not necessarily fit into one or the other. Stein is in a unique artistic position where she works within a genre that doesn’t have so many specific genres to conform to. Thus, Stein takes advantage of her relatively movement-less medium to interpret and embrace values of Cubism and Post-Impressionism without having to conform to either one. In a debate over whether Stein fits into a painterly movement or not, it is made clear that artistic values are universal and can translate well from one medium to another.Stein’s objection to realistic representation in art and literature isn’t so clean cut as to dictate a clear artistic moral value. While she makes harsh and pointed claims against photographic reproduction in her lecture on painting, she does leave room for broad artistic freedom in attaining effective creativity. On one hand, she is a harsh critic of realistic representations of visual life as she says, “But Courbet bothered me. He did really use the color that nature looked like that any landscape looked like when it was just like itself as you saw it in passing. Courbet really did use the colors that nature looked like to anybody that a water-fall in the woods looked like to anybody. And what had that to do with anything, in fact did it not destroy a little of the reality of the oil-painting.” (Stein, 74) Without delving into exactly why Stein feels this way about visual art, it is clear that she values abstract portrayals of reality. In visual art when one reproduces what one sees, Stein demands of the painter that he or she not simply reproduce nature.
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