Because 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.
[...] The reader can put whatever he or she wants into his or her head so long as what is written is evident in the idea of what has been written. The reader can conceptualize specific ideas of not-purple or not-orange, or even get a small sense that copper is there simply by hearing the word. Hearing the word, even in its negative will certainly bring the color (or perhaps the rock) into mind. Painting cannot do this, but it is a clear objective of Post-Impressionist and Cubist art to convey more than just what is seen. In [...]
[...] is the verb, and yellow is a modifier to Though this makes structural sense, it eludes logic the same way as quirky logic paradoxes many milliliters are there in 69 seconds?” Simple statements such as Piece of Coffee” do this same thing in that coffee isn't measured in pieces. Since coffee is ground (or turned to a liquid) then if you were to take a of it, you would be referring to a molecule or an element—the coffee element. The point is that there is not much sense to be made out of this structurally sound phrase. [...]
[...] However, the value translates perfectly well as the reader can appreciate the idea of reinventing the visualization of the written word. Stein employs a few other patterns in Tender Buttons. She uses quite frequently negatives as concrete nouns—“Dirt and Not Copper” for example, or the entire sentence, “What is the use of a violent kind of delightfulness if there is no pleasure in not getting tired of Since words relate to (though are not sufficient in replacing) the elements of color and shape, using negatives for words is a way that Stein attempts to visually paint a scene. [...]
using our reader.