We must not be deceived by superficial phenomena and local successes. Picasso's shows still draw crowds, and T. S. Eliot is taught in the universities; the dealers in modernist art are still in business, and the publishers still publish some "difficult" poetry. But the avant-garde itself, already sensing the danger, is becoming more and more timid every day that passes. Academicism and commercialism are appearing in the strangest places. This can mean only one thing: that the avant-garde is becoming unsure of the audience it depends on -- the rich and the cultivated.
Representing the theoretical and methodological diversity of feminist studies in art history from its second decade, Broude and Garrard both identify the effects of “postmodernist” theories of authorship, the gaze and the social construction of gender in art history, while contesting the tendency to polarize feminist scholarship between modern and postmodern, essentialist and constructivist, traditionalist and theoretical. They advocate incremental change in the discipline and argue for a continuing acknowledgement of the importance of studies of women’s authorship in art.
Gertrude Stein's personality has dominated the provenance of the Stein art legacy. It was, however, her brother Leo who was the astute art appraiser. Alfred Barr Jr., the founding director of New York's Museum of Modern Art , said that between the years of 1905 and 1907, "[Leo] was possibly the most discerning connoisseur and collector of 20th century painting in the world."  After the artworks were divided between the two Stein siblings, it was Gertrude who moved on to champion the works of what proved to be lesser talents in the 1930s. She concentrated on the work of Juan Gris , André Masson , and Sir Francis Rose . In 1932, Stein asserted: "painting now after its great period has come back to be a minor art."