Gertrude Stein's Canine Muses: The White Poodles of 27 Rue de Fleurus

Among the many fascinating aspects of Gertrude Stein's life in Paris, her deep affection for dogs stands out as a touching constant throughout her years as an avant-garde writer and art collector. While she is often remembered for her experimental prose and her Saturday salons that drew the likes of Pablo Picasso and Ernest Hemingway, Stein's relationship with her canine companions offers an intimate glimpse into her domestic life and creative process.

Throughout her years at 27 rue de Fleurus with Alice B. Toklas, white poodles were their constant companions. The most famous among them was Basket, whose name would become a dynasty of sorts – each subsequent poodle in their household would inherit the name, creating a lineage of Baskets that spanned decades.

The original Basket arrived in their lives in 1929 and quickly became an integral part of their Parisian household. Stein wrote adoringly about him in her works, including him in both subtle and overt ways in her experimental prose. In "Identity A Poem," she writes: "I am I because my little dog knows me," a line that captures both her playful approach to identity and the special bond she shared with her pets.

Basket I was particularly special to Stein. She would brush him daily, speaking to him in a mixture of English and French, treating these grooming sessions as opportunities for both pet care and linguistic play. 

This first Basket was also present during many of the famous portrait sessions where artists like Cecil Beaton photographed Stein, adding a domestic touch to her public image as a literary figure. Basket I would sit motionless during Stein's lengthy salons, a living sculpture among the Picassos and Cézannes, observing the proceedings with what regulars called an "intellectual air."

Stein's relationship with her dogs reveals a softer side to her otherwise formidable persona. While she was known for her strong opinions and avant-garde artistic stance, with her dogs she showed unguarded affection and playfulness. This aspect of her life also highlights how the domestic sphere – often overlooked in discussions of modernist artists – played a crucial role in creative production.

Alice B. Toklas shared this devotion, orchestrating elaborate care routines that included weekly baths with French soap, daily brushing, and professional grooming every six weeks. The dogs' meals arrived at exactly 11:30 AM and 6:30 PM, served in silver bowls. During wartime rationing, Toklas traded her own meat rations to maintain their diet—a testament to how central these animals were to their household.

The legacy of Stein's dogs extends beyond their presence in her life; they became part of her literary identity. In her experimental works, dogs often appear as symbols of authenticity and unconditional love, providing a counterpoint to her more complex explorations of human identity and consciousness. Through her dogs, we see not just Stein the modernist pioneer, but Stein the human being, finding joy and comfort in the simple pleasure of canine companionship.