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Decorating with Stettheimer and the Boys

Florine Stettheimer, The Cathedrals of Broadway (detail), 1929. Oil, 152.7 x 127.3 cm (60 18 x 50 /8 in.). The Metropolitan Museum of Art, Gift of Ettie Stettheimer, 1953 From the early 1920s until her death in 1944, Florine Stettheimer (1871-1944; fig. 1) sustained a dialogue about the proper design of domestic space with her circle of male admirers, which included writers, artists, critics, dancers, and musicians. They conducted this exchange using a variety of artistic means: Stettheimer painted the men's portraits, and the novelists in her coterie described in their books fantastic bachelor interiors decorated with her paintings. In addition, she designed eccentric interiors in her homes and studio, and critics and friends referred to these spaces in their writings. While this visual and verbal conversation about the interior revealed an aesthetic that Stettheimer and her male coterie shared, it also brought out a difference between them. Whereas the men incorporated Stettheimer in their writings for the sake of making public a certain aesthetic stance and sexual orientation (Stettheimer's portraits of them largely shared in this enterprise), in contrast she invited them into the closed realm of her domestic sphere where she consolidated a relationship between aesthetic taste and proper social behavior. In a remarkable instance of cultural symbiosis, Stettheimer and her family-two of her three sisters, Ettie and Carrie, and their mother, Rosetta-and the group of male aesthetes gathered around her each managed to generate (and, at times, conceal) her or his own distinct social and sexual profile.