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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:

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.

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).

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.