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About this work
Stettheimer renders her sister Ettie with the same exuberant visual language that defines her approach to modern life. The portrait vibrates with vivid color and an almost childlike directness—not naïveté, but a deliberate refusal of academic restraint. Ettie emerges from the canvas adorned with jewels and fashionable detail, her figure animated by Stettheimer's characteristic linear energy and ornamental patterning. There's an intimacy here alongside sharp observation: this is a portrait of someone Stettheimer knew deeply, painted with affection but also with the wry, social intelligence she brought to all her subjects. The composition likely emphasizes personality over photographic accuracy, allowing Stettheimer's quick, expressive line and bold color choices to convey something truer than mere likeness.
This work belongs to Stettheimer's body of intimate portraiture alongside her monumental "Cathedrals" series celebrating New York's material and cultural vitality. Where those paintings choreograph crowds and architecture across sprawling canvases, her portraits turn inward, applying the same unbounded color and emotional directness to the people closest to her. Painting family was one way Stettheimer claimed artistic autonomy: she painted what moved her, free from institutional expectation, and her sisters—artists and intellectuals themselves—were worthy subjects for modernist attention.
Hung in a bedroom, study, or living space where intimacy matters, this portrait speaks to anyone drawn to art that values personality over perfection. It's conversational, slightly mischievous, warmly human—the work of an artist painting not to impress but to witness.
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.
