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Jul 30, 2014

Sunday Afternoon in the Country

1917

Florine Stettheimer

(American, 1871–1944)

America, 20th century

Oil on canvas

Framed: 139 x 103.5 x 8.3 cm (54 3/4 x 40 3/4 x 3 1/4 in.); Unframed: 128 x 92.5 cm (50 3/8 x 36 7/16 in.)

Gift of Ettie Stettheimer 1948.28

Location

not on view

Did you know?

Although on her deathbed Florine Stettheimer instructed that all her paintings be destroyed, her younger sister instead donated many of them to various museums, including this one.

Description

Along with her sisters, Stettheimer graciously hosted social gatherings for New York avant-garde cultural luminaries. These events often provided subject matter for her paintings, which brim with incidental detail. This example pays homage to a weekend picnic held at the family’s summer home on the banks of the Hudson River. In the background at the upper right, Stettheimer works at her easel; in the foreground at lower left, photographer Edward Steichen poses and snaps the seated figure of artist Marcel Duchamp. Dismissed as not being serious art in their day, almost all of Stettheimer’s paintings remained unsold upon her death. Afterward, the artist’s sister Ettie—seen here wearing a red coat standing behind Duchamp with her arms outstretched—donated many of them to various museums, including this work.

Inscriptions

Inscription

Signed lower left: "19 FS 17 [FS in monogram]"

Provenance

?–1948

Ettie Stettheimer (Durlacher Brothers, New York), given to the Cleveland Museum of Art

1948–

The Cleveland Museum of Art, Cleveland, OH

Citations

Mulcahy, Susan, "Why Were So Many Stettheimer Art Works Up for Sale? Not All Were Real," New York Times, February 7, 2021.
P. C-1

"Part II. Annual Report Issue for the Year 1948." The Bulletin of the Cleveland Museum of Art 36, no. 6 (June 1949): 111-42. Mentioned: P. 113 www.jstor.org

Tyler, Parker. Florine Stettheimer: A Life in Art. New York: Farrar, Straus, 1963. Reproduced: P. 34-36; Mentioned: P. 90, 131-134, 176

"Reviews and Previews." ARTnews 62, no. 8 (December 1963): 10-14, 50-58, 68. Reproduced: P. 13

Cullinan, Helen. "Art & Artists: Brotherly Love for Sisters." The Plain Dealer (June 9, 1974): 16E. Mentioned and reproduced: P. 16E

Nochlin, Linda. “Florine Stettheimer: Rococo Subversive.” Art in America 68, no. 7 (September 1980): 64–83. Reproduced: P. 71

Rosenblum, Naomi. A World History of Photography. New York, N.Y.: Abbeville Press, 1984. Mentioned and reproduced: P. 507-508, fig. 653

Rosenblum, Naomi. A World History of Photography. New York: Abbeville Press, 1989. Mentioned and reproduced: P. 507-508, fig. 653

Watson, Steven. Strange Bedfellows: The First American Avant-Garde. New York: Abbeville Press, 1991. Reproduced: P. 119

Watson, Steven. “Three Sisters.” Art & Antiques 9, no. 5 (May 1992): 60–67. Reproduced: P. 65

Bloemink, Barbara J. The Life and Art of Florine Stettheimer. New Haven: Yale University Press, 1995. Reproduced: P. 77, no. 46

Winkfield, Trevor. 1996. “Very Rich Hours.” Art in America 84 (July 1996): 64–69. Reproduced: P. 67

Rosenblum, Naomi. A World History of Photography. New York: Abbeville Press, 1997. Mentioned and reproduced: P. 508-509, fig. 653

Marquis, Alice Goldfarb. Marchel Duchamp: The Bachelor Stripped Bare : a Biography. Boston: MFA Publications, 2002. Mentioned and reproduced: P. 117-118

Thum, Carol. "Personal Favorite." Cleveland Museum of Art 44, no. 5 (May 2004): 15. Mentioned and reproduced: P. 15

Mühling, Matthias, Karin Althaus, Susanne Böller, Gerrit Jackson, and Florine Stettheimer. Florine Stettheimer. Munich, Germany: Hirmer, 2014. Mentioned and reproduced: P. 22-23, no. 11

Brown, Stephen, Georgiana Uhlyarik, Cecily Brown, and Jens Hoffmann. Florine Stettheimer: Painting Poetry. New Haven, CT: Yale University Press, 2017. Reproduced: P. 105

Cristia, Cintia. "Painting Jazz: Sound, Music, and Rhythm In the Work of Florine Stettheimer." In Florine Stettheimer: New Directions in Multimodal Modernism. Irene Gammel, and Suzanne Zelazo, 179-199. Toronto: Book*hug Press, 2019. Mentioned and Reproduced: P. 187-188, fig. 9.3

Althaus, Karin, Florine Stettheimer, Susanne Böller, and Russell Stockman. Florine Stettheimer: the great masters of art. 2020, 22. Reproduced; p. 22, fig 10.

Exhibition history

New York, The Museum of Modern Art, Florine Stettheimer (1946); traveled to Chicago, Arts Club (1947); to San Francisco, De Young Memorial Museum (1947); illus. plate 14, listed p. 54; ownership attributed to Durlacher Bros, New York.

Detroit, Detroit Institute of Arts (3-27 April 1951), no catalogue but see Bulletin of the Detroit Institute of Arts (Annual Report, 1951-1952) vol. 31, no. 2, p. 29.

New York, Durlacher Bros., Florine Stettheimer: One Man Show (29 October-23 November 1963).

Boston, Institute of Contemporary Art, Florine Stettheimer: Still Lifes, Portraits and Pageants 1910 to 1942 (4 March-27 April 1980); traveled to San Antonio, TX, Marion Koogler McNay Art Institute (7 July-15 August 1980); to Poughkeepsie, NY, Vassar College Art Gallery (28 September-9 November 1980); illus. fig. 6, listed. cat. no. 8.

New York, Whitney Museum of American Art, Florine Stettheimer: Manhattan Fantastica (13 July-5 November 1995) illus. p. 36; listed p. 138.

Munich, Germany, Lenbachhaus, Florine Stettheimer (27 September 2014-1 April 2015).

Florine Stettheimer: One Man Show. Durlacher Brothers, New York, NY (organizer) (October 29-November 23, 1963).

Florine Stettheimer: Still Lifes, Portraits, and Pageants, 1910-1942. The Institute of Contemporary Art, Boston, Boston, MA (organizer) (March 4-April 27, 1980).

Florine Stettheimer. Lenbachhaus, München, Germany (organizer) (September 27, 2014-January 4, 2015).

Cite this page

{{cite web|title=Sunday Afternoon in the Country|url=https://clevelandart.org/art/1948.28|author=Florine Stettheimer|year=1917|access-date=29 May 2023|publisher=Cleveland Museum of Art}}

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Sunday Afternoon in the Country

Sunday Afternoon in the Country

Florine Stettheimer

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