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About this work
Stettheimer's *Fete On The Lake* captures the delirious pleasures of leisure and spectacle—a scene of celebration suspended on water, rendered in the artist's signature riot of colour and deliberate visual chaos. The composition swarms with figures in animated posture: swimmers, boaters, revellers in summer dress, their bodies arranged across the canvas with the gleeful disregard for spatial logic that defines Stettheimer's mature style. The palette is acidic and jewel-toned—hot pinks, acid yellows, electric blues—punctuated by flesh tones that read almost cartoonish in their flatness. There is no hierarchy of importance; every figure, every decorative flourish, every ripple demands attention equally, creating a visual democracy of pleasure that mirrors the democratic energy of modern leisure itself.
This work sits at the heart of Stettheimer's project: the celebration of contemporary American life in all its sensory abundance. After her wartime epiphany returning to New York harbor, she committed herself to capturing not landscape or tradition, but the immediate emotional truth of modern experience—the gaiety, the crowds, the frenetic mixing of classes and desires that defined twentieth-century urban culture. *Fete On The Lake* channels that same spirit into a scene of pure social joy, a moment of collective abandon painted with the whimsy and social acuity for which she became known.
This print belongs on a wall where colour lives boldly. It speaks to the viewer who loves pattern, movement, and the visual language of celebration—who understands that decoration itself can be a form of resistance and truth-telling. It animates a room with optimism and wit.
About Florine Stettheimer
Few painters captured Jazz Age New York with the wit and decorative daring she brought to it. Working in the 1920s and 30s, she developed a feathery, high-keyed style — pale grounds, looping figures, sly social commentary — that sat outside every dominant movement of her era. Her circle included Marcel Duchamp, Carl Van Vechten, and the Stieglitz group, and she designed the cellophane sets for Virgil Thomson's opera Four Saints in Three Acts in 1934.
Long dismissed as a society eccentric, she's now read as a sharp chronicler of American leisure, race, and spectacle — a painter whose pinks and golds hide considerable bite.
