The Life And Art Of Florine Stettheimer

A full account of the life of the artist Stettheimer, "an eccentric, upper-middle-class German-Jewish spinster who lived in New York with her two sisters and mother and who accomplished her best work when she was over fifty years old."--Jacket.

A new look at the art of one of the most charming and idiosyncratic personalities of early 20th-century New York Florine Stettheimer (1871-1944) was a New York original: a society lady who hosted an avant-garde salon in her Manhattan home, a bohemian and a flapper, a poet, a theater designer, and above all an influential painter with a sharp satirical wit. Stettheimer collaborated with Gertrude Stein and Virgil Thomson, befriended (and took French lessons from) Marcel Duchamp, and was a member of Alfred Stieglitz and Georgia O'Keeffe's artistic and intellectual circle. Beautifully illustrated with 150 color images, including the majority of the artist's extant paintings, as well as drawings, theater designs, and ephemera, this volume also highlights Stettheimer's poetry and gives her a long overdue critical reassessment. The essays published here--as well as a roundtable discussion by seven leading contemporary female artists--overturn the traditional perception of Stettheimer as an artist of mere novelties. Her work is linked not only to American modernism and the New York bohemian scene before World War II but also to a range of art practices active today. Flamboyant and epicurean, she was an astute documenter of New York and parodist of her social milieu; her highly decorative scenes borrowed from Surrealism and contributed to the beginnings of a feminist aesthetic.

Poetry. Edited by Irene Gammel and Suzanne Zelazo. Florine Stettheimer (1871-1944) was an American modernist of German-Jewish heritage living in New York. She was a painter, designer, and poet. Together with her sisters Ettie and Carrie, Stettheimer hosted a legendary salon on the Upper West Side, where they entertained the likes of Marcel Duchamp, Carl Van Vechten, Henri McBride, and Georgia O'Keeffe. In 1934 Stettheimer designed the set and costumes for Gertrude Stein's opera Four Saints in Three Acts to much acclaim. In 1949, Ettie collected Florine's poems in CRYSTAL FLOWERS, a privately printed, elegant edition of 250. In addition to these rare poems, this new volume offers formerly unpublished material culled from archives, including three new poems and Stettheimer's libretto for her ballet "Orph e of the Quat-z-arts." Gammel and Zelazo have re-situated this overlooked poet among her modernist sisters, presenting her as an important practitioner of a modernism that integrates multiple art forms. Sixty years after it first appeared for a select few, her poetry shines for a new generation of readers ready to appreciate her irreverent camp aesthetic and her exuberant painterly style.

The American artist Florine Stettheimer. although little known today, is considered to have had a significant influence on the development of modernism in 20th-century American art. The paintings she produced after World War I and before her death in 1944, have been described by art historian Linda Nochlin as rococo subversive. In elegant, refined images, Stettheimer developed a vanguard approach not only to such traditional genres as portraiture, but to fundamental concepts of time-space continuity.

"This collection of essays explores the multimodality of the work of Jazz-era New York saloniere, painter, and poet Florine Stettheimer, allowing readers to discover why Andy Warhol once called her his favourite artist. Florine Stettheimer: New Directions in Multimodal Modernism brings to light the prescient theorizing of a dissolution between high and low art that Stettheimer's highly original and boldly interdisciplinary aesthetic pioneered and that artists like Marcel Duchamp, Georgia O'Keeffe and Warhol understood and admired. Conceived of as a companion collection to the 2010 edition of Stettheimer's Crystal Flowers: Poems and a Libretto, this book considers the paintings, poetry, set design, and salon culture cultivated by Florine Stettheimer and her sisters Carrie and Ettie in New York between 1915 1935. It also considers the use of art to expand the boundaries of gender, age, and identity through self-representation. These essays situate Stettheimer in terms of the renewed interest in her work resulting first in the 2010 edition of her poems, and then two widely acclaimed 2017 Stettheimer retrospectives at The Jewish Museum in New York City and the Art Gallery of Ontario. With contributions by Barbara Bloemink, Georgiana Uhlyarick, Chelsea Olsen, Zach McCann-Armitage, Patricia Allmer, Lesley Higgins, Aaron Tucker, Melba Cuddy-Keane, Jason Wang, Cinti Cristia, David Dorenbaum, Irene Gammel and Suzanne Zelazo."--

Florine Stettheimer (1871-1944) was among the most fascinating artists on the New York arts scene during the first half of the twentieth century, and the painter and poet counted among her fans Andy Warhol and Marcel Duchamp, who organized a retrospective of her work at the Museum of Modern Art. With a longstanding interest in beauty contests and celebrity, Wall Street and consumer culture, Stettheimer anticipated in her work many of the same interests that would later characterize Pop Art, and her synthesis of the arts and urban life remains a source of inspiration for many artists working today. Published to accompany a major retrospective of Stettheimer’s work at the Lenbachhaus in Munich, this well-illustrated book brings together the artist’s paintings and poems, as well as her designs for studio and stage, offering deep insights into Stettheimer’s exceptional life and influence on the artists around her.

From one of our most widely admired art critics comes a bold and timely manifesto reaffirming the independence of all the arts—musical, literary, and visual—and their unique and unparalleled power to excite, disturb, and inspire us. As people look to the arts to promote a particular ideology, whether radical, liberal, or conservative, Jed Perl argues that the arts have their own laws and logic, which transcend the controversies of any one moment. “Art’s relevance,” he writes, “has everything to do with what many regard as its irrelevance.” Authority and Freedom will find readers from college classrooms to foundation board meetings—wherever the arts are confronting social, political, and economic ferment and heated debates about political correctness and cancel culture. Perl embraces the work of creative spirits as varied as Mozart, Michelangelo, Jane Austen, Henry James, Picasso, and Aretha Franklin. He contends that the essence of the arts is their ability to free us from fixed definitions and categories. Art is inherently uncategorizable—that’s the key to its importance. Taking his stand with artists and thinkers ranging from W. H. Auden to Hannah Arendt, Perl defends works of art as adventuresome dialogues, simultaneously dispassionate and impassioned. He describes the fundamental sense of vocation—the engagement with the tools and traditions of a medium—that gives artists their purpose and focus. Whether we’re experiencing a poem, a painting, or an opera, it’s the interplay between authority and freedom—what Perl calls “the lifeblood of the arts”—that fuels the imaginative experience. This book will be essential reading for everybody who cares about the future of the arts in a democratic society.