从很小的时候起，参加剧院的多感官体验就吸引了Stettheimer。虽然她最初尝试设定设计失败了（她向舞蹈家瓦斯拉夫·尼金斯基提出了一个想法，即将奥菲斯的神话带给她作为布景设计师的舞台，只是被拒绝），她的画布有着无可否认的戏剧性。他们的视觉优化但不准确的视角允许从一个角度观看整个场景，并且他们精心设计的框架设备散发出舞台或剧院或舞台的其他元素的外观。在她生命的后期，Stettheimer确实为“三幕中的四圣徒”设计了套装和服装，这部歌剧的剧本由着名的现代主义者格特鲁德·斯坦（Gertrude Stein）编写。 1916年，Stettheimer在着名的M. Knoedler＆Co。画廊举办了个展，但该节目并未获得好评。这是她一生中第一次也是最后一次个展。 Stettheimer选择为每一幅新画作投掷“生日派对” – 基本上是在她家中举办的派对，其主要活动是揭开新作品。参展的社交场合模式与两次世界大战期间Stettheimer女性所知的沙龙相差无几。
From a very young age, the multi-sensory experience of the theatre attracted Stettheimer. Although she initially tried to set the design to fail (she presented an idea to the dancer Vaslav Nijinsky, bringing the myth of Orpheus to her as a set designer, just rejected), her canvas There is undeniable drama. Their visually optimized but inaccurate viewing angles allow viewing of the entire scene from one angle, and their well-designed frame equipment exudes the appearance of the stage or other elements of the theater or stage. In the later stages of her life, Stettheimer did design suits and costumes for the “four saints in the three scenes”, written by the famous modernist Gertrude Stein. In 1916, Stettheimer was in the famous M. Knoedler & Co. The gallery held a solo exhibition, but the show was not well received. This is the first and last solo exhibition of her life. Stettheimer chose to throw a “birthday party” for each new painting – basically a party in her home whose main activity is to unveil new works. The social occasions of the exhibition were similar to the salons known to Stettheimer women during the two world wars.