Portfolio Naples June/July 2017 - Page 31

Opposite page: Florine Stettheimer’s studio at the Beaux-Arts Building, New York, photograph by Peter A. Juley & Son, 1944 Image provided by Peter A. Juley & Son Collection, Photograph Archives, Smithsonian American Art Museum, Washington, DC Below: Family Portrait II, 1933 Oil on canvas 46¼ x 64⅝ in. (117.4 x 164 cm) Museum of Modern Art, New York, Gift of Miss Ettie Stettheimer, 1956. 8.1956 Right: Portrait of My Sister, Ettie Stettheimer, 1923 Oil on canvas, mounted on hardboard, 40 3/8 x 26¼ in. (102.2 x 66.8 cm) Art Properties, Avery Architectural and Fine Arts Library, Columbia University in the City of New York, Gift of the Estate of Ettie Stettheimer, 1967 Rosetta, then developed a stratagem for unveiling her new works, characteristic of the period: parties. eir elite salon at- tracted many of the leading lights of the artistic vanguard, including her close friend Marcel Duchamp, as well as Alfred Stieglitz, Carl Van Vechten, Georgia O’Keeffe, Elie Nadelman, Gaston Lachaise, and many others. Flamboyant and epicurean, Stettheimer was an astute commentator on her social milieu. e exhibition presents Stettheimer’s work in the context of the social and in- tellectual environment of early twentieth- century New York, exploring the artist’s fascinating position as an American mod- ernist whose work exuberantly reflects on the mass culture of her times. Over four decades of cultural development, from the Gilded Age to the Jazz Age, the exhi- bition examines Stettheimer’s unique artistic style, her position as a link be- tween groups within the New York art world, and her continued influence on artistic practice today. e works in Florine Stettheimer: Painting Poetry are drawn from all peri- ods of the artist’s life, with Head of a Girl (1887-88), a pencil drawing Stettheimer made when she was just 16 years old, being one of the earliest works on view. By 1918, Stettheimer articulated her unique style, typified in the painting Pic- PORTFOLIO MAGAZINE 29