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Interest in the arts

Hemingway’s mother had taken him to the Chicago Arts Institute when he was a child, and he had also written a feature article for the Toronto Star weekly about a ladies’ art-lending library. Before arriving in Paris, Hemingway had advocated a total sensual submersion before the creative process could even begin; he had told a group of friends in Chicago: "You’ve got to see it, feel it, smell it, hear it." He discovered that one means of expanding the sensual quality of his prose was to examine fine arts, paintings especially. From the time of his arrival in Paris, he manifested a profound interest in the arts, because of the influence of Gertrude Stein, who enjoined him to learn more about the visual arts.

Paris abounded with painters and artworks in many galleries, including contemporaries: Matisse, Derain, Rouault, Chirico, Modigliani, Picasso, Utrillo, Picabia and Miró were famous in the Quartier Latin. Paul Cézanne also extended great influence upon the Cubists as well as upon Hemingway.

Hemingway thought of himself as both a poet and a writer of prose and began to be influenced by the imagist poets, for whom all of a man’s senses must be incorporated into the experience of the image: they were attempting to paint a picture with words, and words must be the same as a painter’s colours. Thus, Hemingway’s early poems represent a curious reflection of the two dominant poetic styles of the 1920s: imagism and Dada, although he personally disliked Tristan Tzara and was opposed to the sweeping destructiveness of Dada. Standing outside the Dada and surrealist movements were many artists in all fields, such as Picasso and Hemingway himself, upon whom this Paris of the 1920s had a profound influence.

Hemingway visited art galleries and museums throughout his life and his favourites were the Louvre and the Luxembourg in Paris and the Prado in Madrid. Other museums of interest to him were those of Milan and, in Venice: the Accademia, the Scuola di San Rocco and the Ducal Palace. In America, he visited the Chicago Arts Institute and the New York Metropolitan Museum of Art. He was attracted mainly to paintings and seems to have had little interest in sculpture, about which he wrote, in Farewell to Arms:

There were many marble busts on painted wooden pillars along the walls of the room. ... The hall too ... was lined with them. They had the complete marble quality of all looking alike. Sculpture had always seemed a dull business—still, bronzes looked like something. But marble busts all looked like a cemetery.

—Hemingway, Farewell to Arms (p.29).

However, he showed respect to Romanian sculptor Constantin Brancusi. In 1977, after the death of Picasso, Hadley Hemingway found a sculpture of a cat, which had been given to Hemingway by Picasso because he knew he loved cats.

He also devoted part of a chapter in A Moveable Feast to a chance meeting with Bulgarian-born Jules Pascin.

Artworks owned

In addition to a portrait of himself painted by Waldo Peirce in 1920, entitled Kid Balzac, Hemingway owned works by Juan Gris, Paul Klee, Joan Miró, André Masson, Roberto Domingo, Georges Braque, and Antonio Gattorno. Although he admired the art of Picasso, with whom he socialised in Paris, first in the 1920s and again after WWII, Hemingway never bought any of his paintings. However, Picasso obliged Hemingway by illustrating some of his work, such as twenty-eight black-and-white drawings for the 1959 German translation of Hemingway’s story "The Undefeated", about an old wounded matador attempting a comeback. Picasso also illustrated the 1966 Italian serialization of Hemingway’s Death in the Afternoon in the Italian magazine Tempo.

[Add prose about the advent of Kid Balzac.]

In his early days in Paris, Hemingway bought Georges Braque's Still Life with Wine Jug, which was later stolen from Finca Vigía. Masson's A Throw of the Dice (1922) was purchased by Hemingway directly from the artist’s studio. He also acquired three versions of Masson's Landscape, Trees, and a gouache on canvas titled Composition.

In 1925, Hemingway borrowed money to buy The Farm (1921–1922), by Miró, with whom he formed a lifelong friendship. Hemingway owned Monument Under Construction (1929), by Paul Klee

In 1931, Hemingway bought two works by Gris: The Guitar Player (1926) and The Bull Fighter (1913). He selected the latter for the frontispiece of the first edition of Death in the Afternoon (1932), but it was usually omitted from the book's subsequent editions. Saltando la Barrera (1923) ("Leaping the Barrier", sometimes also referred to as Toros) is one of eighteen oil paintings created by Roberto Domingo between 1915 and 1942 that were reproduced in poster form, with added black type, to advertise bullfight festivals in Valencia. The image was also used for the dust jacket of Death in the Afternoon and the original painting still hangs in Finca Vigía (now the Hemingway Museum), in Havana. Two other untitled paintings by Domingo are also kept there.

Illustration

[[File:TheFarmMiro21to22.jpg|alt=|thumb|300px|<center>''[[The Farm (Miró)|The farm]]'' (1921–1922), by [[Joan Miró]].</center>]]

List of artists mentioned in works by Hemingway

• No. – a counter of the number of entries listed in the table (this column is not sortable).
• Artist – the name of the artist (this column is sortable)
• Work – the title of the work featuring the named artist (this column is sortable)
• Page(s) – the page number(s) where the artist is named (this column is not sortable)
• Year – the year the work was published (this column is sortable)
• Notes – a note and/or reference about the entry (this column is not sortable).

No.	Artist	Work	Page(s)	Year	Notes
1	Abstract painter	Islands in the Stream	317	1970
2	Hieronymus Bosch	Across the River and into the Trees	274	1950
3		Islands in the Stream	21	1970
4	Constantin Brâncuși	Death in the Afternoon	99	1932
5	Georges Braque	Islands in the Stream	71	1970
6		A Moveable Feast	4	1964
7	Pieter Bruegel the Elder	Across the River and into the Trees	14	1950
8		For Whom the Bell Tolls	235	1940
9		Islands in the Stream	21, 97	1970
10	Paul Cézanne	By-Line: Ernest Hemingway	155	1967
11		Death in the Afternoon	99	1932
12		Islands in the Stream	382	1970
13		A Moveable Feast	13, 69	1964
14		The Torrents of Spring	40	1926
15	Jean-Baptiste-Camille Corot	By-Line: Ernest Hemingway	3	1967
16	Cubism	By-Line: Ernest Hemingway	43	1967
17	Dada	"The Snows of Kilimanjaro" (in The Short Stories of Ernest Hemingway)	164	1984
18	Edgar Degas	Across the River and into the Trees	71	1950
19	Dutch painters	Across the River and into the Trees	191–192	1950
20	Thomas Eakins	Islands in the Stream	382	1970
21	El Greco	By-Line: Ernest Hemingway	90	1967
22		Death in the Afternoon	203–205	1932
23		For Whom the Bell Tolls	235, 380	1940
24		Islands in the Stream	246–246	1970
25	Antonio Gattorno	"Gattorno: Program Note"	111, 141	1936
26	Henri Gaudier-Brzeska	A Moveable Feast	107	1964
27	Paul Gauguin	Islands in the Stream	7, 318	1970
28	Giotto	Across the River and into the Trees	13, 14, 54	1950
29		"The Revolutionist" (in The Short Stories of Ernest Hemingway)	255	1984
30	Francisco Goya	Across the River and into the Trees	90	1950
31		Death in the Afternoon	40, 73, 135, 141, 203–205	1932
32		"A Natural History of the Dead" (in The Short Stories of Ernest Hemingway)	539, 544	1984
33	Juan Gris	Islands in the Stream	237–238	1970
34		A Moveable Feast	119	1964
35	William Hogarth	Islands in the Stream	246	1970
36	Early Italian primitives	By-Line: Ernest Hemingway	37	1967
37	Paul Klee	Islands in the Stream	238	1970
38	Leonardo da Vinci	Death in the Afternoon	99	1932
39	Wyndham Lewis, as a painter	A Moveable Feast	107–110	1964
40	Baldassare Longhena	Across the River and into the Trees	13	1950
41	Édouard Manet	Islands in the Stream	448	1970
42		A Moveable Feast	13	1964
43	Andrea Mantegna	Across the River and into the Trees	14	1950
44		Death in the Afternoon	190	1932
45		A Farewell to Arms	289–290	1929
46		For Whom the Bell Tolls	235	1940
47		"The Revolutionist" (in The Short Stories of Ernest Hemingway)	255–256	1984
48	Masaccio	"The Revolutionist" (in The Short Stories of Ernest Hemingway)	255	1984
49	André Masson	Green Hills of Africa	96	1935
50		Islands in the Stream	71	1970
51		A Moveable Feast	Preface	1964
52	Early Mexican featherwork	Death in the Afternoon	159	1932
53	Michelangelo	Across the River and into the Trees	14	1950
54		Islands in the Stream	168	1970
55	Jean-François Millet	By-Line: Ernest Hemingway	3	1967
56	Joan Miró	Death in the Afternoon	275–276	1932
57		Islands in the Stream	71	1970
58		A Moveable Feast	Preface	1964
59		The Farm (in Cahiers d'Art)	28–29	1937
60	Claude Monet	A Moveable Feast	13	1964
61	Jules Pascin	Islands in the Stream	71–74, 108	1970
62		A Moveable Feast	101–104	1964

Sources

Books

• Brasch, James D. (2009). That Other Hemingway: The Master Inventor. Trafford Publishing. ISBN 978-1-4269-1735-6
• Hanneman, Audre. (2015). "Section C. Contributions to Newspapers and Periodicals". Ernest Hemingway: A Comprehensive Bibliography. Princeton University Press; Reprint edition. [First published 1967]. ISBN 978-0-691-62285-9
• Hemingway, Colette. (2000). Ernest Hemingway (1899–1961) and Art. The Metropolitan Museum of Art. Retrieved March 30, 2016.
• Hemingway, Colette. (2009). in his time: Ernest Hemingway's Collection of Paintings and the Artists He Knew in The Hemingway Review; Volume 30, Number 1, Fall 2010, pp. 180-182. Project Muse. Retrieved July 11, 2016.
• Hemingway, Seán. (2016). Connections/Hemingway. The Metropolitan Museum of Art. metmuseum.org. Retrieved July 11, 2016.
• Lamb, Robert Paul (2010). Art Matters – Hemingway, Craft, and the Creation of the Modern Short Story. Louisiana State University Press. ISBN 978-0-8071-3550-1
• Mandel, Miriam B. (2004). A Companion to Hemingway's Death in the Afternoon. Camden House. ISBN 978-1-57113-202-4
• Meyers, Jeffrey. (2006). Picasso and Hemingway: A Dud Poem and a Live Grenade, in Michigan Quarterly Review; Volume XLV, Issue 3, Summer 2006. University of Michigan Library. umich.edu. Retrieved July 13, 2016.
• Minthorn, David. (2006). Neue Galerie Shows Paul Klee's Works. blouinartinfo.com. Retrieved July 11, 2016.
• Moddelmog, Debra A.; del Gizzo, Suzanne, eds. (2012). Ernest Hemingway in Context. Cambridge University Press. ISBN 978-1-107-42931-4
• Reynolds, Michael. (1998) [First published 1986]. The Young Hemingway. W. W. Norton & Company. ISBN 978-0-393-31776-3
• Reynolds, Michael. (1999). Hemingway The Paris Years. W. W. Norton & Company. ISBN 978-0-393-31879-1
• Reynolds, Michael (2000). "Ernest Hemingway, 1899–1961: A Brief Biography". in Wagner-Martin, Linda (ed). A Historical Guide to Ernest Hemingway. New York: Oxford UP. ISBN 978-0-19-512152-0
• Ries, Martin. (2009). Throw of the Dice, in André Masson: Surrealist, Survivor, Sage. martinries.com. Retrieved July 11, 2016.
• Stipes Watts, Emily. (1971). Ernest Hemingway and the Arts. University of Illinois Press. ISBN 978-0-252-00169-7
• Wilhelm, Randall S. (2006). Objects on a Table: Anxiety and Still Life in Hemingway's A Farewell to Arms in The Hemingway Review; Volume 26, Number 1, Fall 2006, pp. 63-80. Project Muse. Retrieved July 16, 2016.

Newspapers and magazines

• Hemingway, Ernest (May 1, 1936). "Gattorno: Program Note". classic.esquire.com. Esquire. Retrieved July 7, 2020.
• Hemingway, Ernest (1937). "The Farm". IX (No. 1–4). Cahiers d'Art. Retrieved July 8, 2020 – via tate.org.uk. {{cite journal}}: |issue= has extra text (help); Cite journal requires |journal= (help)