Panel debate about the Florine Stettheimer retrospective. Video by Art Basel
Florine Stettheimer Retrospective in Munich
Early American modernist painter, salonière, set designer and poet Florine Stettheimer(1871 – 1944) was living for a period of her life in Munich, Germany. The Städtische Galerie im Lenbachhaus und Kunstbau, Munich is now presenting the first retrospective exhibition of Florine Stettheimer’s work in Europe. The exhibition ‘Florine Stettheimer’ runs through January 4 2015. The exhibition is accompanied by a catalogue:
by Matthias Mühling (Editor), Karin Althaus (Editor)
Publisher: Hirmer Publishers (November 15, 2014)
Amazon’s description of the catalogue/well-illustrated hardback art book reads: “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(in 1946 ed.).
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.”
Heat, c.1919, by Florine Stettheimer courtesy of the Brooklyn Museum.
Florine Stettheimer (1871 – 1944)
Wikipedia reads: “Stettheimer studied for three years 1892 to 1895 at the Art Students League of New York. (…) From 1915 to 1935, she and her sisters Ettie and Carrie hosted a salon “for the contemporary literati, gay and polyglot New Yorkers and European expatriates”.In October 1916, the only solo exhibition of her work during her lifetime took place at Knoedler & Company in Manhattan, curated by Marie Sterner. She exhibited twelve “high-keyed, decorative paintings”, none of which were sold. From (… then on) year after year, over a period of two decades, Stettheimer entered her work (only) at the Annual exhibitions of the Society of Independent Artists. She also continued to refine her style in rendering highly personal self-portraits, including a self-portrait in the nude, and group portraits that included her own family. She also prepared a number of well known portraits of Marcel Duchamp that were fueled by desire and explore androgyny and doubling.”
American writer and art collector Gertrude Stein bought the first painting Marie Laurencin (1883 – 1956) ever sold as a professional artist, Group of Artists (1909), which is a group portrait of Laurencin, Apollinaire, Picasso and his mistress, Fernande Olivier.
Musée Marie Laurencin (the Marie Laurencin Museum) in Japan is dedicated to the French modernist painter and bisexual Marie Laurencin.
Djuna Barnes & Natalie Barney Girlfriends in Paris, a video clip.
The Ladies Almanack – The Book All Women Should Carry
Djuna Barnes (June 12, 1892 – June 18, 1982) was an American writer. “She was part of the inner circle of the influential salon hostess Natalie Barney, who would become a lifelong friend and patron, as well as the central figure in Barnes’s satiric chronicle of Paris lesbian life, Ladies Almanack. They probably also had a brief affair, but the most important relationship of Barnes’s Paris years was with the artist Thelma Wood. Wood was a Kansas native who had come to Paris to become a sculptor, but at Barnes’s suggestion took up silverpoint instead, producing drawings of animals and plants.” – Read the description of the short film at YouTube.
The Parisienne by Agnes Goodsir
Painting by Agnes Goodsir
Girl on couch by Agnes Goodsir, 1915
Agnes Noyes Goodsir (1864 – 1939)
Agnes Noyes Goodsir, born in Australia was encouraged to go to Paris to study paintings in 1899 by her family. She remained there until 1905. Returning to Europe in 1906 she settled in London. There she met ‘Cherry [aka the divorcee Mrs Rachel Dunn] became Agnes’ artist’s model, close companion and the dominant subject of later works. Agnes and Cherry settled in Paris. Agnes’ career developed, especially in portraiture. In 1926 she was the third Australian to be elected to the Salon Nationale des Beaux Arts (after Rupert Bunny and Bessie Davidson), an important accolade. In 1927 Agnes returned to Australia for nine months to much fanfare and at the peak of her career. She then went back to Paris where she remained for the rest of her life with her beloved Cherry. Agnes died in 1939, Rachel in 1950. They are buried in the same grave outside Paris.’ (Quote from article by Peter Di Sciascio)
Above right: Girl With A Cigarette by Agnes Goodsir
Video and text © National Gallery of Australia, Canberra 2010.
Grace Crowley (1890 – 1979) Australian Artist and Modernist Painter
‘Grace Crowley, also known as ‘Smudge’, is believed to have been in a relationship with Anne Dangar between about 1915 and 1929. Anne Dangar studied and then taught at Julian Ashton’s Sydney Art School, at the same time as Grace Crowley. The two went to France together in 1926 where they studied painting for several years, including at the influential cubist school Académie Lhote. [Anne] Dangar returned to Australia in 1928, Crowley in 1930. [Anne] Dangar travelled back to France in 1930 and settled at Albert Gleize’s Art Colony, Moly-Sabata, in southern France where she immersed herself in pottery, for which she became most famous. She remained there for the rest of her life. (…)
Grace appears to have had short-lived artistic and/or personal relationships in Sydney with Dorrit Black and Rah Fizelle, eventually settling into a lasting relationship with Ralph Balson. All of Grace’s relationships were with artists, and the professional aspect was clearly important. (…)’ – Out Here: Gay and Lesbian Perspectives VI, Chapter 9: Australian Lesbian Artists of the Early Twentieth Century by Peter Di Sciascio.
Grace Crowley: being modern, 23 December 2006 – 6 May 2007 at National Gallery of Australia.
Anne Dangar at moly-sabata: tradition and innovation by the National Gallery of Australia