Florine Stettheimer

Florine Stettheimer (1871-1944) was a singular figure in American modernist painting, renowned for her distinctive style and her vibrant depictions of New York society in the early twentieth century. Born in Rochester, New York, Stettheimer belonged to a privileged Jewish family and cultivated a cosmopolitan sensibility through extensive travels in Europe with her mother and two sisters. Her exposure to European art movements, such as Symbolism and Art Nouveau, would later inform her unique approach to painting.

Stettheimer’s artistic language was unlike that of her contemporaries. While many American modernists gravitated towards abstraction or the stark realism of the Ashcan School, Stettheimer developed a highly personal visual idiom characterised by luminous colours, decorative flourish, and a whimsical, almost theatrical sensibility. Her paintings often feature elongated figures, ornate interiors, and diaphanous, pastel palettes. The result is an oeuvre that feels both intimate and fantastical, capturing the spirit of her era while remaining unmistakably her own.

A central figure in New York’s avant-garde circles during the interwar years, Stettheimer hosted a celebrated salon in her family’s Manhattan apartment. Here, artists, writers, and intellectuals such as Marcel Duchamp, Georgia O’Keeffe, and Carl Van Vechten would gather for spirited conversation and artistic exchange. Stettheimer’s social milieu is reflected in her paintings, which frequently portray her friends and acquaintances in elaborate settings, offering a witty and affectionate chronicle of New York’s cultural elite.

One of Stettheimer’s best-known works, “Cathedrals of Fifth Avenue” (1931), exemplifies her approach. The painting is part of a series celebrating the great cathedrals of New York, Fifth Avenue, Broadway, Wall Street, and Art. Each canvas is replete with symbolic detail, depicting the city’s landmarks, iconic figures, and social rituals with a blend of satire and genuine admiration. Stettheimer’s vision of New York is both critical and loving, revealing her deep engagement with the city’s complexities.

Despite her originality, Stettheimer was ambivalent about public recognition. She exhibited her work selectively and often declined invitations to major exhibitions. This self-imposed exclusivity, coupled with the whimsical nature of her paintings, led some critics to underestimate her significance during her lifetime. However, her stature has grown considerably in recent decades, as scholars have re-evaluated her contribution to American art. Today, Stettheimer is celebrated as a pioneering modernist whose work anticipated later developments in feminist and camp aesthetics.

Stettheimer’s legacy is not confined to her paintings. She was also a poet and set designer, most notably for the avant-garde ballet “Four Saints in Three Acts,” for which she created fantastical stage sets and costumes. Her interdisciplinary approach and refusal to abide by artistic orthodoxies mark her as a true modernist innovator.

Florine Stettheimer died in 1944, but her art continues to enchant and inspire, offering a vivid window into the glittering, complex world of early twentieth-century New York.