"...You cannot refuse a new face. You must accept a face as a face. And so with an oil painting. You can now see that when it came first to Matisse and then to the cubism of Picasso nothing was a bother to me. Yes of course it was a bother to me but not the bother of a refusal. That would not have been possible being that I had become familiar with oil paintings, and the essence of familiarity being that you can look at any of it... "Really in everybody's heart there is a feeling of annoyance at the inevitable existence of an oil painting in relation to what it has painted, people, objects and landscapes. And indeed and of course as I have already made you realize that is not what an oil painting is. An oil painting is an oil painting, and these things are only the way the only way an oil painter makes an oil painting... "And then there is another trouble. A painting is painted as a painting, as an oil painting existing as an oil painting, it may be in or it may be out of its frame, but an oil painting and that is a real bother always will have a tendency to go back to its frame, even if it has never been out of it. ...If it does belong in its frame, must it the oil painting be static. If it tries to move and there have been good attempts made to make it move does it move. Leonardo, in the Virgin child and Saint Anne tried to make it move, Rubens in his landscapes, Picasso and Velasquez in their way, and Seurat in his way... "(In the same Leonardo) ...there was an internal movement, not of the people or light or any of these things but inside in the oil painting. In other words the picture did not live within the frame, in other words it did not belong within the frame. The Cezanne thing was different, it went further and further into the picture the life of the oil painting but it stayed put. "I have thought a great deal about all this and I am still thinking about it. I have passionately hope that some picture would remain out of its frame, I think it can while it does not, even while it remains there. And this is the problem of all modern painting just as it has been the problem of all old painting. That is to say the first hope of a painter who really feels hopeful about painting is the hope that the painting will move, that it will live outside its frame." Excerpts from Gertrude Stein's lecture at Museum of Modern Art