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Abrams reviews Florine Stettheimer: Painting Poetry, an exhibition of the works of Florine Stettheimer at the Jewish Museum, New York, and then at the Art Gallery of Ontario, Toronto.

Models – economic, mathematical, toys, manikins – are ubiquitous. This article probes one model, the Stettheimer doll's house, in order to understand all models better. The Stettheimers, three wealthy unmarried sisters living in New York in the early the twentieth century, attracted a remarkable melange of Camp artists and writers, identified by Arthur Danto as “the American Bloomsbury.” The Stettheimers were involved in many of New York's happenings, including the Harlem Renaissance and the innovative stage productions of Gertrude Stein. Androgyny, excess, racial mixing and theatricality flourished in the Stettheimer milieu. Carrie Stettheimer's doll's house, now housed in the Museum of the City of New York, captured this life. I consider this model for two related purposes. First, and more narrowly, I document the various effects this eccentric doll's house had on the artistic production of those in its vicinity, most notably on the novels of her sister Ettie and on the paintings both of her sister Florine and Marcel Duchamp. Second, I use the evidence of the doll's house's affect to discuss the agency of models in general.

This volume is an introduction to the three great thinkers of the Russian school of modern Orthodox theology. It includes biographical sketches of the three and examines the creative ideas they devised or adapted, including free theocracy.

McBride's outline creates an impression of effete connoisseurship, and his black coat, white pants, and sockless shoes suggest the rarefied world of the fashion-conscious dandy.

Next I gathered flowers in the painting's feminine colors: ranunculus in pale yellow, pink and apricot; red amaryllis left over from the holiday season; and a few stems of periwinkle-blue delphinium I found in the flower market.