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About this work
Stettheimer's *Portrait of My Teacher* captures a singular moment of regard—a study in the relationship between student and instructor rendered through her signature visual language of vivid color, decorative patterning, and psychological directness. The composition likely centers on a figure defined by intelligence, presence, and the particular authority that comes with imparting knowledge. Rather than a formal, flattering likeness, Stettheimer employs her characteristic whimsical line and jewel-toned palette to convey something more elusive: the personality and emotional truth of an individual who shaped her artistic thinking. The background probably dissolves into ornamental abundance, a Stettheimer hallmark that transforms domestic or studio space into something theatrical and alive.
This portrait belongs to Stettheimer's broader project of depicting the people and relationships that mattered in her creative world. Her New York salons brought together artists, writers, and cultural figures who fed her imagination; her teachers—both formal and informal—formed the foundation of her visual vocabulary. Yet by the time she painted this work, Stettheimer had thoroughly rejected academic convention in favor of emotional immediacy and personal vision. The portrait honors intellectual debt while asserting her own idiosyncratic eye: a duality that runs through all her finest work.
Hung in a study, studio, or bedroom where it can be contemplated up close, this painting rewards sustained looking. It speaks to anyone who understands the profound impact of a single mentor—and the complex task of seeing, really seeing, someone who has helped you see.
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.
