With her audaciously colorful paintings, Florine Stettheimer exalted Manhattan’s high life—but always kept her irony intact.
Shortly after the birth of Pop art, in the nineteen-sixties, came the discovery of the precursors of Pop, the American artists who had anticipated the Pop fascination with commercial culture: billboards, magazine advertisements, Broadway shows, department stores, the works.
Bloemink can’t resist some panicky pieties, to be sure. She regularly insists that her subject was “subversive,” even though Stettheimer was a wealthy society bohemian who never had to work for a living and who had the habits and manners of her class and kind. To represent her as a model contemporary is to miss exactly what was courageous in her life and work.
The Stetties and their mother wandered through Europe in the last decades of the nineteenth century and early in the twentieth, with long stops in Rome and Florence, where Florine, already having decided to become an artist, absorbed a love of Quattrocento painting; Botticelli’s marriage of coloring-book fantasy and intricate linear decoration was a particular passion.
of Europe. Where émigrés typically accepted New York while longing for Europe, she loved New York, much preferring it to any European capital, and even after the war remained faithful to it, never returning to the Continent. One of her poems reads:And life became quite different . . .to paint this thing? She turned to Thalia, Greek muse of comedy, while others turned to Thalia’s dimmer and more sober sisters.
Stettheimer’s deliberate simplification of drawing, her repetitive figure style, and her relentlessly additive, crowded compositions can at first evoke “outsider art.” But there are two types of outsider art, one made from below and one from above. There is the outsider who is, at first, indifferent to the possibility that money might be made from art, and then there is the outsider who needs to make no money from her art.
Stettheimer’s big pictures kid the absurdities they show, and yet approve of society’s investment in the absurdities. None is more audacious than her 1921 work “Spring Sale at Bendel’s.” No other artist at the time, avant-garde or academic, would have regarded a department-store sale as an event worthy of being treated as the central Manhattan sacrament it has always been.
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