Question: Which gender did Matisse and Picasso most often paint in their younger years?
About the article "Henri Matisse", section "Gertrude Stein, Académie Matisse, and the Cone sisters".

Candidate passages:
Around April 1906 he met Pablo Picasso, who was 11 years younger than Matisse.
The two became lifelong friends as well as rivals and are often compared; one key difference between them is that Matisse drew and painted from nature, while Picasso was much more inclined to work from imagination.
The subjects painted most frequently by both artists were women and still life, with Matisse more likely to place his figures in fully realised interiors.
Matisse and Picasso were first brought together at the Paris salon of Gertrude Stein and her companion Alice B. Toklas.
During the first decade of the twentieth century, the Americans in Paris— Gertrude Stein, her brothers Leo Stein, Michael Stein and Michael's wife Sarah—were important collectors and supporters of Matisse's paintings.
In addition Gertrude Stein's two American friends from Baltimore, the Cone sisters Claribel and Etta, became major patrons of Matisse and Picasso, collecting hundreds of their paintings and drawings.
The Cone collection is now exhibited in the Baltimore Museum of Art.
While numerous artists visited the Stein salon, many of these artists were not represented among the paintings on the walls at 27 rue de Fleurus.
Where Renoir, Cézanne, Matisse, and Picasso's works dominated Leo and Gertrude Stein's collection, Sarah Stein's collection particularly emphasised Matisse.
Contemporaries of Leo and Gertrude Stein, Matisse and Picasso became part of their social circle and routinely joined the gatherings that took place on Saturday evenings at 27 rue de Fleurus.
Gertrude attributed the beginnings of the Saturday evening salons to Matisse, remarking:"More and more frequently, people began visiting to see the Matisse paintings—and the Cézannes: Matisse brought people, everybody brought somebody, and they came at any time and it began to be a nuisance, and it was in this way that Saturday evenings began.
"'Among Pablo Picasso's acquaintances who also frequented the Saturday evenings were: Fernande Olivier (Picasso's mistress), Georges Braque, André Derain, the poets Max Jacob and Guillaume Apollinaire, Marie Laurencin (Apollinaire's mistress and an artist in her own right), and Henri Rousseau.
His friends organised and financed the "Académie Matisse" in Paris, a private and non-commercial school in which Matisse instructed young artists.
It operated from 1907 until 1911.
Hans Purrmann and Sarah Stein were amongst several of his most loyal students.
Matisse spent seven months in Morocco from 1912 to 1913, producing about 24 paintings and numerous drawings.
His frequent orientalist topics of later paintings, such as odalisques, can be traced to this period.
The Salon d'Automne of 1905 brought notoriety and attention to the works of Henri Matisse and the Les Fauves group.
The latter gained their name after critic Louis Vauxcelles described their work with the phrase "Donatello au milieu des fauves!"
("Donatello among the wild beasts"), contrasting the paintings with a Renaissance-type sculpture that shared the room with them.
Henri Rousseau (1844–1910), an artist that Picasso knew and admired and who was not a Fauve, had his large jungle scene "The Hungry Lion Throws Itself on the Antelope" also hanging near the works by Matisse and which may have had an influence on the particular sarcastic term used in the press.
Vauxcelles' comment was printed on 17 October 1905 in the daily newspaper "Gil Blas", and passed into popular usage.
Although the pictures were widely derided—"A pot of paint has been flung in the face of the public", declared the critic Camille Mauclair (1872–1945)—they also attracted some favorable attention.
The painting that was singled out for the most attacks was Matisse's "Woman with a Hat"; the purchase of this work by Gertrude and Leo Stein had a very positive effect on Matisse, who was suffering demoralization from the bad reception of his work.
Matisse's notoriety and preeminence as the leader of the new movement in modern painting continued to build throughout 1906 and 1907, and Matisse attracted a following of artists including Georges Braque (1880–1963), André Derain (1880–1954), Maurice de Vlaminck (1876–1958).
Picasso's work had passed through his Blue period and his Rose period and while he had a considerable following his reputation was tame in comparison to his rival Matisse.
To make matters worse Matisse shocked the French public again at the 1907 Société des Artistes Indépendants when he exhibited his painting "Blue Nude (Souvenir de Biskra)," completed in early 1907.
The "Blue Nude" was one of the paintings that would later create an international sensation at the Armory Show of 1913 in New York City.
By the spring of 1907 when he began to paint "Les Demoiselles d'Avignon", until its completion later in the year, Picasso was vying with Matisse for the preeminent position of being the perceived new leader of Modern painting.
Upon its completion the shock and the impact of the painting propelled Picasso into the center of controversy and all but knocked Matisse and Fauvism off the map, virtually ending the movement by the following year.
In 1907 Picasso joined the art gallery that had recently been opened in Paris by Daniel-Henry Kahnweiler (1884–1979).
Kahnweiler was a German art historian, art collector who became one of the premier French art dealers of the 20th century.
He became prominent in Paris beginning in 1907 for being among the first champions of Pablo Picasso, and especially his painting "Les Demoiselles d'Avignon."
Before 1910 Picasso was already being recognized as one of the important leaders of Modern art alongside Henri Matisse who had been the undisputed leader of Fauvism and who was more than ten years older than he was and his contemporaries the Fauvist André Derain and the former Fauvist and fellow Cubist, Georges Braque.
In his 1992 essay "Reflections on Matisse", the art critic Hilton Kramer wrote,  After the impact of "Les Demoiselles d'Avignon", however, Matisse was never again mistaken for an avant-garde incendiary.
With the bizarre painting that appalled and electrified the cognoscenti, which understood the "Les Demoiselles" was at once a response to Matisse's "Le bonheur de vivre" (1905–1906) and an assault upon the tradition from which it derived, Picasso effectively appropriated the role of avant-garde "wild beast"—a role that, as far as public opinion was concerned, he was never to relinquish.
Kramer goes on to say,  Whereas Matisse had drawn upon a long tradition of European painting—from Giorgione, Poussin, and Watteau to Ingres, Cézanne, and Gauguin—to create a modern version of a pastoral paradise in "Le bonheur de vivre", Picasso had turned to an alien tradition of primitive art to create in "Les Demoiselles" a netherworld of strange gods and violent emotions.
As between the mythological nymphs of "Le bonheur de vivre" and the grotesque effigies of "Les Demoiselles," there was no question as to which was the more shocking or more intended to be shocking.
Picasso had unleashed a vein of feeling that was to have immense consequences for the art and culture of the modern era while Matisse's ambition came to seem, as he said in his "Notes of a Painter," more "limited"—limited that is, to the realm of aesthetic pleasure.
There was thus opened up, in the very first decade of the century and in the work of its two greatest artists, the chasm that has continued to divide the art of the modern era down to our own time."
During the Second World War, Picasso remained in Paris while the Germans occupied the city.
Picasso's artistic style did not fit the Nazi ideal of art, so he did not exhibit during this time.
He was often harassed by the Gestapo.
During one search of his apartment, an officer saw a photograph of the painting "Guernica".
"Did you do that?"
the German asked Picasso.
"No," he replied, "You did".
Retreating to his studio, he continued to paint, producing works such as the "Still Life with Guitar" (1942) and "The Charnel House" (1944–48).
Although the Germans outlawed bronze casting in Paris, Picasso continued regardless, using bronze smuggled to him by the French Resistance.
Around this time, Picasso took up writing as an alternative outlet.
Between 1935 and 1959 he wrote over 300 poems.
Largely untitled except for a date and sometimes the location of where it was written (for example "Paris 16 May 1936"), these works were gustatory, erotic and at times scatological, as were his two full-length plays "Desire Caught by the Tail" (1941) and "The Four Little Girls" (1949).
In 1944, after the liberation of Paris, Picasso, then 63 years old, began a romantic relationship with a young art student named Françoise Gilot.
She was 40 years younger than he was.
Picasso grew tired of his mistress Dora Maar; Picasso and Gilot began to live together.
Eventually they had two children: Claude, born in 1947 and Paloma, born in 1949.
In her 1964 book "Life with Picasso", Gilot describes his abusive treatment and myriad infidelities which led her to leave him, taking the children with her.
This was a severe blow to Picasso.
Picasso had affairs with women of an even greater age disparity than his and Gilot's.
While still involved with Gilot, in 1951 Picasso had a six-week affair with Geneviève Laporte, who was four years younger than Gilot.
By his 70s, many paintings, ink drawings and prints have as their theme an old, grotesque dwarf as the doting lover of a beautiful young model.
Jacqueline Roque (1927–1986) worked at the Madoura Pottery in Vallauris on the French Riviera, where Picasso made and painted ceramics.
She became his lover, and then his second wife in 1961.
The two were together for the remainder of Picasso's life.
His marriage to Roque was also a means of revenge against Gilot; with Picasso's encouragement, Gilot had divorced her then husband, Luc Simon, with the plan to marry Picasso to secure the rights of her children as Picasso's legitimate heirs.
Picasso had already secretly married Roque, after Gilot had filed for divorce.
This strained his relationship with Claude and Paloma.
By this time, Picasso had constructed a huge Gothic home, and could afford large villas in the south of France, such as Mas Notre-Dame-de-Vie on the outskirts of Mougins, and in the Provence-Alpes-Côte d'Azur.
He was an international celebrity, with often as much interest in his personal life as his art.
In addition to his artistic accomplishments, Picasso made a few film appearances, always as himself, including a cameo in Jean Cocteau's "Testament of Orpheus".
In 1955 he helped make the film "Le Mystère Picasso" "(The Mystery of Picasso)" directed by Henri-Georges Clouzot. 
At 21, Gilot met Pablo Picasso, then 61.
Picasso first saw Gilot in a restaurant in the spring of 1943.
His mistress, Dora Maar, was devastated to learn that Picasso was replacing her with the much younger artist.
After Picasso's and Gilot's meeting she moved in with him in 1946 and they spent almost ten years together.
Those years revolved around art, but it is believed by some art historians that Gilot's relationship with Picasso is what cut short her artistic career.
Picasso and Gilot never married, but they did have two children together.
Their son, Claude, was born in 1947 and their daughter, Paloma, was born in 1949.
During their ten years together Gilot was often harassed on the streets of Paris by Picasso's legal wife, Olga Khokhlova, a former Russian ballet dancer.
Eleven years after their separation, Gilot wrote "Life with Picasso" (with the art critic Carlton Lake), a book that sold over one million copies in dozens of languages, despite an unsuccessful legal challenge from Picasso attempting to stop its publication.
From then on, Picasso refused to see Claude or Paloma ever again. 
In December 1954, Picasso began to paint a series of free variations on Delacroix's "Les Femmes d'Alger".
He began his first version (cat.
19) six weeks after learning of the death of his lifelong friend and rival Henri Matisse — and so, for Picasso, the "oriental" subject of this series of paintings held strong associations with Matisse as well as with Delacroix.
Matisse had been famous for his images of languid, voluptuous women known as odalisques — the Turkish word for women in a harem.
"When Matisse died he left his odalisques to me as a legacy," joked Picasso.
Many of Picasso's portrayals of Jacqueline circa 1955–56 represent her in this guise (cat.
The consequences of Picasso's "Femmes d'Alger" series were far-reaching: "I thought so much about Les Femmes d'Alger that I bought La Californie," Picasso explained to his biographer Pierre Daix.
La Californie was a Belle-Époque villa situated in the foothills of Cannes in the South of France.
Picasso bought it in 1955, and it was here that he painted the "Nude in a Rocking-Chair" (cat.
16).
The light-filled interiors, the views over the Mediterranean and the exotic garden evoked a feeling of spaciousness and ease which corresponded to Picasso's idea of the Orient.
The art historian and collector Douglas Cooper was perhaps the first to realise that the paintings done at La Californie marked a return to Picasso's peak form.
In April 1956, he wrote to the curator Alfred Barr:""I recently spent the day with Picasso and went through most of what he has done since last July.
I have been greatly impressed … A whole series of interiors of La Californie deriving half from Delacroix half from Matisse — great emphasis on ornament, arabesque, simplification … In short, as you are planning to come to Europe, this is a word to tell you that you must see all this in the studio: it is to my mind much better than anything since 1946.
""Picasso would spend six years at La Californie (1955–61).