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About this work
In this self-portrait, Stettheimer presents herself with the directness and playfulness that define her artistic vision. The painting shows the artist in a pose of deliberate informality—neither the austere self-regard of academic tradition nor the psychological introspection of her Symbolist contemporaries. Instead, we encounter Stettheimer as she wished to be seen: a modern woman painter uninterested in flattery or conventional beauty. The palette is characteristically vivid, the brushwork fluid and decorative, suggesting someone comfortable claiming space on the canvas. This is not a moment of vulnerability but one of self-declaration, executed with the wit and compositional intelligence that mark all her best work.
The painting arrives at a crucial juncture in Stettheimer's career—just years after her wartime return to New York from Europe and her decisive break with academic training. *Portrait of Myself* embodies that rupture. Where her earlier European studies had been earnest and formal, this work embraces what she called a "purposeful naiveté," a style uniquely her own that would soon make her a singular voice in the modernist avant-garde. The self-portrait becomes an assertion: this is how the artist sees herself in her moment, in her city, on her own terms.
This work belongs in rooms where intelligence and independence matter—near books, alongside other modernist works, or where a viewer might pause before it and recognize something of their own refusal to be diminished or defined by others' expectations. It speaks to anyone who values artistic honesty over decoration.
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.
