Before I get too far along, I thought I should specify the painting that serves as the main avatar for this blog: Florine Stettheimer’s Soirée (1917-19), also sometimes known as Studio Party. I’ve long been entranced by Stetteimer’s witty and whimsical sensibility, and when it came to select an image that would best encapsulate the intentions of this blog, her paintings seemed a somewhat inevitable choice. I’m consistently dazzled with how she utilizes minute but sharply observed details to embed narratives within her images, and she’s at her best when depicting groups of individuals interacting with each other within a specific space. A number of her paintings capture this dynamic, but Soirée is my very favorite of them all.
“Queer modernism” is a necessarily ambiguous term that defies precise definition or categorization, but the overriding dynamic I constantly return to is the emphasis on connection and collaboration. The individuals I generally consider “queer modernists” seemed to actively and intentionally construct extensive relational networks (both professional and often personal in nature), and what is consistently thrilling about studying these figures is how they all seemed to know each other in some way. Queers often served as the key conduits for the promotion of modernist art, and many (most?) of the great, storied salons of the modernist era were held by figures that were queer: Stein and Toklas at 27 rue de Fleurus, Natalie Barney’s Académie des femmes, Carl Van Vechten’s racially desegregated house parties, etc, etc–and while the salon of the three Stettheimer Sisters, the subject of this particular painting, is not as well known today as those three gatherings, it functioned as a vital site of queer modernist expression as well.
I have a number of Stettheimer-related images and material lined up for future “Image of the Day” and other types of posts, but until then the excellent art-oriented blog Venetian Red has a wonderful post on Stettheimer that serves as a nice overview or introduction to the artist, and features a number of high-quality images of her paintings, something which is absolutely essentially to fully appreciate their intricacies and keen visual wit.
Oil on Canvas
Yale University Art Gallery
Gift of Joseph Solomon from the estate of Florine Stettheimer