Question: Matisse and Picasso often painted which gender 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.
As a more mature artist, one can see in his work how he explores styles and compositions of well-known colleagues in order to find out what makes them so special.
We see works (paintings, etchings, drawings, gouaches) in the styles of, among others, Cézanne, Matisse, Géricault, Picasso, Doré, Vuillard and Klee, but always in his own stroke and with the liveliness that characterizes all of his work.
Like his father he painted portraits by commission, among which is one of family members of Vincent van Gogh.
In the war years of 1940 -1945, the now famous series of etchings was created on the subject of Cervantes'sDon Quixote.
After the war, these 18 etchings found their way to the Museo Casa Natal de Cervantes in Spain and just before his death eight masterly oil paintings on the same subject went to the same museum.
In 1949 he created drawings and gouaches for the Bible.
In the 1970s he painted a series of 72 gouaches on themes from A Thousand and One Nights.
His later paintings, such as the "Gardens" breathe a very personal atmosphere with a power of color and optimism more likely to be associated with a younger painter. 
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. 
In 1906 he moved to Paris and became friends with Henri Matisse, Georges Braque and Fernand Léger.
In Paris, Gris followed the lead of another friend and fellow countryman, Pablo Picasso.
He submitted darkly humorous illustrations to journals such as "Le Rire", "L'assiette au beurre", "Le Charivari", and "Le Cri de Paris".
Gris began to paint seriously in 1911 (when he gave up working as a satirical cartoonist), developing at this time a personal Cubist style.
In "A Life of Picasso", John Richardson writes that Jean Metzinger's 1911 work, Le goûter (Tea Time), persuaded Juan Gris of the importance of mathematics (numbers) in painting.
Gris started painting persistently in 1911 and exhibited for the first time at the 1912 Salon des Indépendants (a painting entitled "Hommage à Pablo Picasso").
"He appears with two styles", writes art historian Peter Brooke, "In one of them a grid structure appears that is clearly reminiscent of the "Goûter" and of Metzinger's later work in 1912."
In the other, Brooke continues, "the grid is still present but the lines are not stated and their continuity is broken.
Their presence is suggested by the heavy, often triangular, shading of the angles between them...
Both styles are distinguished from the work of Picasso and Braque by their clear, rational and measurable quality."
Although Gris regarded Picasso as a teacher, Gertrude Stein wrote in "The Autobiography of Alice B. Toklas" that "Juan Gris was the only person whom Picasso wished away".
In 1912 Gris exhibited at the Galeries Dalmau in Barcelona, the gallery of Der Sturm in Berlin, the "Salon de la Societe Normande de Peinture Moderne" in Rouen and the Salon de la Section d'Or in Paris.
Gris, in that same year, signed a contract that gave D.-H. Kahnweiler exclusive rights to his work.
At first Gris painted in the style of "Analytical Cubism", a term he himself later coined, but after 1913 he began his conversion to "Synthetic Cubism", of which he became a steadfast interpreter, with extensive use of papier collé or, collage.
Unlike Picasso and Braque, whose Cubist works were practically monochromatic, Gris painted with bright harmonious colors in daring, novel combinations in the manner of his friend Matisse.
Gris exhibited with the painters of the Puteaux Group in the Salon de "la Section d'Or" in 1912.
His preference for clarity and order influenced the Purist style of Amédée Ozenfant and Charles Edouard Jeanneret (Le Corbusier), and made Gris an important exemplar of the post-war "return to order" movement.
In 1915 he was painted by his friend, Amedeo Modigliani.  
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.