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About this work
Florine Stettheimer's portrait of her sister Carrie emerges from the canvas with the artist's signature blend of vivid color, ornamental detail, and affectionate directness. The composition presents a figure rendered in Stettheimer's characteristic style—a flattened, almost decorative approach that treats fabric, jewelry, and flesh with equal decorative attention. Rather than seeking photographic likeness, Stettheimer captures something more elusive: the personality and presence of someone intimately known. The palette likely sings with the jewel tones and unexpected color combinations that define her work, while the background dissolves into patterned invention rather than naturalistic space.
This portrait belongs to Stettheimer's sustained engagement with her inner circle and domestic world. Unlike her monumental "Cathedrals" series celebrating New York's public spectacle, her portraits of family members reveal the other half of her artistic vision—one rooted in the salon culture her family cultivated in their Manhattan apartment. Carrie herself was part of that world: a designer and artist in her own right. For Florine, painting her sister was both an act of intimacy and a statement about women's creative lives, rendered without sentimentality but with genuine warmth.
This is a painting for someone who understands that portraiture need not flatter to honor. It belongs on a wall where natural light can animate its colors, in a space that values personality over perfection—a bedroom, study, or living room where the sitter's intelligent gaze and the artist's wry affection can quietly hold their own against more conventional beauty.
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.
