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About this work
Stettheimer's *A Model* presents the figure of a woman—poised, self-aware, and rendered in the artist's signature palette of jewel tones and acidic brights. The composition likely captures the sitter in an interior space, perhaps amid the decorative furnishings and patterned surfaces that populate Stettheimer's urban interiors. There is nothing academic or remotely solemn here; instead, the figure emerges from a field of ornamental incident—swirling patterns, architectural fragments, flattened planes of color—that suggest the visual cacophony of 1920s or 30s New York. The painting pulses with what Stettheimer called "immediate, expressive emotion," a deliberate rejection of the classical training she'd abandoned upon returning to New York after World War I.
The work belongs to Stettheimer's exploration of modern life and modern femininity. A model was not merely a passive object to be rendered; she was an agent within the urban scene, a working woman navigating the avant-garde circles and theatrical worlds that fascinated the artist. By naming the painting simply *A Model*, Stettheimer asserts both the subject's specificity and her typicality—she is one among many, yet undeniably present. This sits within the artist's larger project of capturing the expressive energy of 20th-century New York and its inhabitants, particularly women.
Hung in natural light, this print invites prolonged looking. It speaks to anyone drawn to modernism that refuses solemnity, to interiors that prize personality over restraint, and to art that finds dignity and humor in the everyday figure. The painting rewards a viewer's playful eye.
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.
