作為二十世紀前衛藝術的先行者，弗洛琳‧史提海莫（Florine Stettheimer, 1871-1944）女士並未受到注目，究其原因除了畫家本身的性格因素外，她的創作動機與藝術市場商業機制有所扞格可能也是一大原因，但即使如此，這些外在環境因素並未妨礙史提海莫藝術表現的發展與其繪畫表現的前衛特質。
本文以史提海莫為研究對象，主要探討其肖像繪畫（portraiture）的表現形式與「意識流」（stream of consciousness）的相關性，亦即藉由對詹姆斯（William James, 1841-1910）的心理學、柏格森（Henri Bergson, 1859-1941）的哲學、榮格（Carl Gustav Jung, 1875-1961）的精神分析等學說與普魯斯特（Marcel Proust, 1871-1922）小說文本《追憶似水年華》（A la Recherche du Temps Perdu, 1913）的分析，釐清理論與小說創作素材的關聯之後，繼而討論史提海莫繪畫中存在的意識流表現形式與圖像象徵意涵。在這兩項議題中，前者以小說《追憶似水年華》為對照，探討史提海莫繪畫中存在的諸如「自由聯想」、「記憶浮現」（包括記憶之拼貼）、「時序錯疊」與「無意識浮現」（或象徵圖像之運用）之意識流文學常用的表現形式；後者從史提海莫繪畫中「無意識浮現」的表現形式為起點，進一步探討其繪畫中的圖像，尤其是其雌雄同體人物形象之象徵與意涵。
史提海莫一生執著於藝術創作，同時還是一位詩人，其藝術表現形式包括繪畫、舞台佈景與服裝之設計。形塑其風格形式的來源廣泛，在她看似以質樸藝術（Nave Art）風格描繪的歡娛場景與奇想（fantasy）氛圍中，實寓有深刻的社會寫實批判意涵與時代精神，本文的目的就在於希望能由另一個層面理解其風格表現與繪畫內涵，亦即思考畫家用「怎麼樣的一種內心狀態描繪方法，因此豐富了其繪畫藝術的內涵？」，同時藉此提出是否有「意識流繪畫」的議題。

(一) 西文書目
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(二) 中文書目
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(三) 期刊資料（依年代順序）
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Sussman, Elizabeth.,〈Florine Stettheimer: A 1990s perspective〉, Florine Stettheimer: manhattan fantastica, New York: Whitney Museum of American Art, 1995, pp.41-67
Jenkins, Nicholas.,〈A Large Eye Peering Into a Small Room〉, The Times Literary Supplement, vol. 10, no.4832, Nov. 10 1995, p.12
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(四) 展覽圖錄
Bloemink, Brabara J., Friend and Family: Portraiture in the World of Florine Stettheimer, Katonah Museum of Art, New York, 1993
Dacis, Howard. Florine Stettheimer: An Exhibition of Painging, Watercolors, Drawings, Low Memorial Library, Columbia University, New York, 1973
Harris, Ann Sutherland., Nochlin, Linda., Women Artists: 1555-1950, Museum Associates of the Los Angeles County Museum of Art, 1976
McBride, Henry., Florine Stettheimer, The Museum of Modern Art, New York, 1946
Sheila Schwartz, ed. Florine Stettheimer: manhattan fantastica, Whiteny Museum of American Art, New York, 1995
Sussman, Elizabeth., Florine Stettheimer：Still Lifes, Portraits, and Pageants 1910-1942, The Institute of Contemporary Art, Boston, 1980
Watson, Steven, Group Portrait: The First American Avant-Garde, The National Portrait Gallery, Simthsonian Institution, 1991