Hedda Sterne, a Romanian-born artist educated in Bucharest, Vienna, and Paris, developed an artistic vocabulary that engaged deeply with the major currents of twentieth-century modernism without ever submitting to them. Trained first under Frederic Storck and later in the Parisian studios of André Lhote and Fernand Léger, she absorbed both the structural rigor of Constructivism and the experimental poetics of Surrealism. Her early work, created within the Bucharest avant-garde alongside Victor Brauner and Marcel Janco, reveals a fascination with the irrational and the accidental, expressed through collage, drawing, and sculpture.

Forced to flee wartime Romania in 1941, Sterne joined the community of European émigré artists in New York, where she became part of Peggy Guggenheim’s circle. Featured in landmark exhibitions such as First Papers of Surrealism and 31 Women, she aligned with the generation that came to define the New York School, though her practice remained distinctly her own. At Betty Parsons Gallery, where she was the only woman represented in the early years, her successive solo exhibitions charted a constant reinvention of form, moving from urban machinery and aerial cityscapes to atmospheric abstractions and later to prismatic works on paper.

Sterne’s art defies easy categorisation: her stylistic evolutions reflect an ongoing dialogue between perception, memory and materiality. Rather than adhering to a fixed style, she approached painting as an tool of inquiry—a “visual diary” that absorbed both the metaphysical intensity of European modernism and the expansive sensibility of postwar American abstraction. Although often identified as the sole woman among The Irascibles, her significance extends far from the iconic photograph, embodying a lifelong devotion to the autonomy of artistic thought. Her works, now held in major collections including MoMA and the National Gallery of Art, assert a distinctive transnational modernity shaped by exile, intellect, and relentless experimentation.