''Camping Under Glass' - Stylish, in fact, hardly begins to describe Florine Stettheimer's work. It is besotted with style as an end in itself, and its delight in quotation naturally endears it to postmodernist taste.' -Time MagazineRecent scholarly research has indicated that two additional American painters might be considered to fit within the Transatlantic Modernism school: the party hostess Florine Stettheimer and Charles Demuth. These artists have undergone major reinterpretation due to recent interest in gender and sexual themes, and their art may be termed 'modernism at the margins.' Both created very intimate, mostly autobiographical works that were not painted for public view, and each have had major retrospective exhibitions in the last ten years. Professor Wanda Corn suggests that Stettheimer and Demuth are among a subculture of artists within the larger avant garde group. Florine Stettheimer is best known as a hostess, party giver, and networker in the vein of Gertrude Stein, and her art deals with fashion, interior design, style, and entertaining. She was of a wealthy family who traveled and lived in Europe until World War I, when she returned to the United States. She became a sophisticated part of the New York avant-garde circle, and her portraits of Stieglitz and Duchamp show the friendships they enjoyed. Her paintings reflect a modernity of palette in her strong colors, fantasy, and exaggerated organic forms, and her subjects deal with a life of indulgence and leisure. Filled with events of the day, her works identify with modern New York and the machine age aesthetics. In The Cathedral of Art, Stettheimer narrates the New York art scene with pride and pleasure, while creating a fantasy that celebrates modern art. Symbolism also plays an important role in her paintings, and to read her paintings, you must know the players and their attributes. Although Stettheimer shared paintings with friends, she only exhibited once in her lifetime. Instead she preferred to provide a space for artists to work and produce without competition, thus allowing women their own voices within the art movement.

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