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THE SOLOMON

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CAMFIELD, RICE UNIVERSITY

GUGGENHEIM MUSEUM, NEW YORK

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PUBLISHED BY THE SOLOMON

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INCINATTI ART

MOM U M

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ART GALLERY OF ONTARIO, TORONTO

uss

THE DETROIT INSTITUTE OF ARTS

Chairman of the Board, harry

Q Z

President,

Guggenheim

peter o. lawson-johnston

O H. H.

ARNASON

ELEANOR, COUNTESS CASTLE STEWART

HENRY ALLEN MOE

BILL D.

MOYERS

CHAUNCEY NEWLIN

MRS. HENRY OBRE

DANIEL CATTON RICH

ALBERT

MICHAEL

THIELE

WETTACH

CARL ZIGROSSER

Lenders

PATRICK BAILLY-COWELL, pierre

ANDRE benoit,

MR. and MRS. Arnold saltzman, Great Neck,

Paris

mrs. william sawyer,

Ales, France

Buffalo,

ROSAMOND BERNIER COLLECTION, New York

MR. AND MRS. FRED shore,

COLLECTION MR. AND MRS. LEONARD M. BROWN,

Maurice Sternberg, Chicago

New

New York

York

Springfield, Massachusetts

jacques tronche, rene cavalero,

Paris

Marseille

PRINCE IGOR troubetzkoy, MR.

and MRS. Arthur

COHEN, New York DR.

simone collinet,

MR. AND MRS. BAYARD EWING

GALERIE HENRI BENEZIT,

Caracas

hilde gerst gallery,

HENRI GOETZ AND CHRISTINE BOUMEESTER,

leon jerusalmi, Le

Paris

New

Paris

von meyenburg,

THE SOLOMON

Basel, Switzerland

MR. AND MRS. ROBERT MOTHERWELL,

kunstmuseum

New

York

NEUMANN,

Chicago

New York

GUGGENHEIM MUSEUM, New York

Basel, Switzerland

THE METROPOLITAN MUSEUM OF ART,

New York

Stockholm

musee national d'art moderne,

Paris

MUSEE DE PEINTURE ET DE SCULPTURE, Grenoble

Paris

museum

Paris

of art, Carnegie institute, Pittsburgh,

Pennsylvania Paris

mr. and mrs. neil reisner,

MADAME SUZANNE ROMAIN,

Scarsdale,

New York

the museum of MODERN art, New York

NEW YORK UNIVERSITY ART COLLECTION Paris

professor guido rossi, Milan

HERBERT AND NANNETTE ROTHSCHILD COLLECTION,

New York

moderna museet,

Neuilly, France

MORTON

succession picabia,

olga picabia,

Buffalo,

THE ARTS CLUB OF CHICAGO

THE HONORABLE DAVID MONTAGU, London

lucienne radisse,

albright-knox art gallery,

THE BALTIMORE MUSEUM OF ART

MENIL FAMILY COLLECTION

MR. AND MRS.

New York

THE ART INSTITUTE OF CHICAGO

Paris

andre napier,

Paris

Milan

weyhe gallery, New York

York

MRS. barnett malbin, Birmingham, Michigan (The Lydia and Harry Lewis Winston Collection)

New York

GALLERY GERTRUDE STEIN,

Paris

manoukian,

GALERIE DENISE RENE,

schwarz gallery,

Vesinet, France

MRS. M. VICTOR leventritt,

alex maguy,

Paris

GALERIE CAVALERO, Cannes

Lilian H. florsheim, Chicago

Paris

Welti, Zurich

Paris

PEDRO vallenilla echeverria,

Robert lebel,

max

PHILADELPHIA MUSEUM OF ART

THE TATE GALLERY, London YALE university art gallery,

New Haven,

Connecticut

•

«? /

Pref;ace

FRANCIS PICABIAis of modern

become

tury painting

of his name which situations in the

who

one

mention

instantly attentive at the

linked so closely to key issues and

modern

era.

Much

Kandinsky, Malc-

Kupka, Delaunay and Mondrian, Picabia

vitch,

firmly placed in the history

Students concerned with twentieth-cen-

art.

thought

formulated the concept of abstraction in

not primarily through theoretical discourse, but

art,

through convincing and powerfully self-revealing works. His

name

also linked

with the

startling and, in retrospect, ever

which

in 191

Armory Show more

this

decisive event,

brought the images of the early twentieth-

century to a continent whose technological avant-gardism, until then, had

visual counterpart. Later, in the

same decade, Picabia and Marcel Duchamp, both based in

New

York, made

their provocative anti-art gestures

and became thereby the American faction of the

But

inter-

Dada movement.

national

despite such intensive, pioneering engagement,

work, unlike

Picabia's

Duchamp,

almost

familiar as idea

that

of Kandinsky, Mondrian or

unknown

more than

to the general public,

as a pictorial sequence,

those immediately concerned with

Thus,

modern

and

even to

painting.

note a curious discrepancy between Picabia's

accepted historic significance and the general lack of fa-

main body of

miliarity with the painter. This first

York

seum

attempt

his contribution as a

survey of

therefore, proposed as a

is,

contradictions

museum

his

work

New

means by which such

may

be eliminated or at

least

this,

The Solomon

Guggenheim Mu-

reduced.

has secured the collaboration of an outstanding

Picabia scholar, Dr. William A. Camfield, Associate Professor in the Fine Arts

Houston,

who

Department of Rice University

Curator of the Exhibition has made the

current selection and prepared the catalogue contents.

It is

obvious that only someone who, like Dr. Camfield, had spent years familiarizing himself with Picabia's seemingly sporadic

and visually discontinuous oeuvre, could effec-

tively achieve a full exposition cy. It

ceeded

of the

artist's

creative lega-

equally clear that no such effort could have sucif the principal

Picabia collectors and owners had

not cooperated so wholeheartedly. The lenders'

some

catalogue gives

this

indication of the

list

wide spread

of Picabia's work throughout the world, and reveals

same time the extreme generosity of many individ-

the

and

uals

institutions

toward

the organizing institution.

toward

Picabia, as well as

The Guggenheim Museum, its

own

indebtedness, as well as that of other participating

mu-

therefore, takes great pleasure in

acknowledging

seums that have benefited from the lenders' willingness to

make

pose.

pur-

widows

Mme. Olga Picabia, Mme. Gabrielle Mme. Germaine Everling-Picabia

Buffet-Picabia and

for loans, catalogue documentation,

this

common

are particularly grateful to the three

of Francis Picabia -

less

our

their paintings available for

aid that has taken

many forms

much selfwhen

and for

during the years

exhibition and the accompanying catalogue were in

preparatory

their

The

state.

artist's

daughter,

Mme.

Jeannine Bailly-Cowell, should also be mentioned in

same context and

this

equally entitled to our gratitude.

The suggestion to attempt a survey of Picabia's oeuvre came to the Guggenheim Museum from Mr. SamuWagstaff, Jr., now Curator of Contemporary Art J. The Detroit Institute of Arts. It is, therefore, particu-

first

larly gratifying to

know

that his institution as well as the

Art Gallery of Ontario and the Cincinatti Art are participating in the current presentation

America. Finally,

art in

should mention the effective

part played throughout the preparatory stages

departments of

museum, and

this

Museum

of Picabia's

Diane Waldman, Associate Curator, her Shearer and Carol Fuerstein

who

by various

particularly that assistant

Linda

edited the catalogue.

would like to acknowledge the contributions of a number of other individuals on behalf of the Curator of the Exhibition. They are lenders: Mme. Simone Collinet, Arturo Schwarz and Herbert and NanIn addition

nette Rothschild; individuals

has been essential in

whose long-range support

making

this

exhibition possible:

Marcel Duchamp, George Heard Hamilton, Pierre Andre Benoit,

M. Poupard-Lieussou,

Francois

Chapon,

Conservateur, Bibliotheque Litteraire Jacques Doucet,

Donald Gallup, Conservator, Yale Collection of American Literature, Bernard Karpel, Librarian,

Modern others

Art,

who

Gresse,

New

Museum of

York, and Michel Sanouillet; and

have been extremely helpful: R. de Zayas, Mrs. Rose Fried,

Mme. Yvonne M. Romic, Mr.

and Mrs. John de Menil Mrs. Pamela Rentfro and Mile.

Dominique Bouissou. Dr. Camfield also wishes to express his gratitude to the American Council of Learned Societies, the American Philosophical Society and the Art Department of the University of

St.

Thomas, Houston

for their support.

Thomas M. Messer,

Director

Picabia Aphorisms

you want

A conviction

There

have clean

way

through

life,

save your

life: sacrifice

all

We are

not responsible for what

When

I have finished smoking, I

Crime

is less

criminal than

What improves

do;

and accompanied by

the

times for a celebration.

are ignorant

not interested

of our

acts until

accomplish thei

in the butts.

human justice.

our personality represents what

why God

your reputation.

red or blue, stark naked

music of a subtle fisherman, prepared at

That's

shirts.

a disease.

only one

One must go

change them as often as you change your

ideas,

good; what harms

represents evil.

has no personality.

There's nothing modern about making love; however,

Everything for today, nothing for yesterday, nothing

it's

for

what I

like to

tomorrow.

best.

Francis Picabia

Francis Picabia - painter, poet, polemicist,

bon vivant work was

poses problems for any serious exhibition. His

in the lycee solely for feats

motivated by personal aims often indifferent to time, public taste

not completely

and a credulous audience

and claimed an

tales

more concerned with the myth than with the man. Little wonder that most critics, distracted by Picabia's behavior and baffled by the seemingly unpredictable, incompatible range of style and quality in his work, declined or despair-

ed of

comprehensive evaluation. Only

handful of

man and

his

iard, Francisco

wife,

in Paris.

He was the only child of a Span-

Vicente Martinez Picabia, and his French

Marie Cecile Davanne. Both parents came from

distinguished families, and Picabia

was

raised in an afflu-

ent bourgeois household.' Marie Davanne's death in 1886 left a

headstrong lad in the care of his father, grandfather,

uncle and doting servants.

He was

ure, and, excepting his skill in

spoiled

beyond meas-

drawing, became

known

photography, Picabia

photograph in

facile

recalls

a landscape

are

draughtsman an intensely

art as

his grandfather's predic-

would be made

tion that painting

by color

obsolete

he responded: "You can

but not the forms that

have

head." 2

In 1895 Picabia entered the Ecole des Arts Decoratifs

embarked

until,

according to family tradition, he

in 1897, at the age of 18,

his first

amorous adventures. In 1899 he made 3

of many

debut

his

at the

conservative Salon des Artistes Francaises. Contrary to

popular

belief,

he was not

pressionist in emulation

years he

was

at that

time painting

of Sisley and

a student

bert Charles Wallet

Pissarro.

an Im-

For several

of Ferdinand Humbert, Al-

and Fernand Cormon, and

until the

winter of 1902-03 he seems to have produced only two types

of paintings -

figures (no. 2)

manner and ancestry remain unclear despite serious research (see Michel Sanouillet, Francis Picabia et 397, Paris, vol II, pp. 16-17, 2 4-6-47)- His birth was "declared" in the second arrondissement of Paris on January 24, 1S79 (letter to the author from the Archives du Departement de la Seine et de la Ville de Paris, September 10, 1963). His paternal grandfather, Juan Martinez Picabia (1798-1858) of La Coruha, married Josefa Delmonico (1818-1880) of Switzerland in New York in 1S40. That grandfather prospered as a planter in Cuba before returning to Spain where he became a principal figure in the construction of the Madrid-La Coruna railroad, a service for which he was honored by the Span-

but he was a

instinctive vision

and studied there

work.

Francois Marie Martinez Picabia was born on or about

January 22, 1879,

reliable,

personal, subjective activity.

family and friends perceived the life-long wholeness of the

work

Traditional accounts of Picabia's youthful

and technical proficiency. His extravagant con-

duct generated fabulous

of physical strength and pre-

cocious experiences with night clubs and alcohol.

(no.

delicate watercolors

and modest landscapes

of Spanish

in a post-Barbizon

i). 4

Details of Picabia's birth

government

(data based on information supplied by Mme. Yvonne Gresse, and on unpublished documents in her possession drawn up for Picabia's grandmother, Josefa Delmonico, on December 7, i860, by ish

Picabia'shalf-sister,

legal

an agent of the Colegio de Notarios Escribanos R de Madrid). Picabia's father, Francisco Vicente Martinez Picabia (18471929), moved from Havana to Paris where in 1878 he married the daughter of Alphonse Davanne, a wealthy businessman and distinguished amateur photographer who reportedly worked with Daguerre. A bachelor brother living in the household, Maurice Davanne, was Conservator of the Bibliotheque Sainte-Genevieve and a collector of the paintings of Felix Ziem and Ferdinand Roybert.

Gabrielle Buffet-Picabia, "Picabia, l'inventeur," L'Oeil, Paris,

June 1956, p.32. 3

Standard accounts of this event, based on Picabia's later memory of it, record that he fled to Switzerland at the age of eighteen (1897) with the mistress of a prominent Parisian journalist (Buftet-Picabia, Aires abstraites, Geneva, 1957, p.20). Picabia's mistaken or

misunderstood recollections of these

promoted general acceptance of unsubstantiated data. Contrary to most accounts, there is no reliable record of his work at any salon before 1899; there is no indisputably documented Impressionist painting in his oeuvre before 1902-1903 and he could not have met in Switzerland during 1897-1S98 either Nietzsche or any members of Pissarro's years have

family (correspondence with Paul-Emile Pissarro, L. R. Pissarro, Mile.

Orovida

Pissarro,

Mme.

John Rewald and

Meadmore). In the first extant account of these years (GaHaussmann, Picabia, Paris, February 10-25, !9째5)> L. Roger-Miles stated that, despite modest success at his first S.

lerie

Salon, Picabia's "frequent visits to the Salon lize the effort still

and of

his craft;

made him

necessary in order to be master of his

and he went to the studio of

Humbert to draw academic figures the French by author.

rea-

form

Cormon and

All translations

from

The turning point

in Picabia's career "occurred at the

end of 1902 when he met Georges and Rodo

Pissarro.

Their father, the aged Camille, reported to another son, Lucicn:

He [ Rodo] Cormon

makes

tells

that they are in the

[Picabia], Tbis

young man

company is

quantities of nature studies by the procedure in use in

the schools

takes no account of the air,

and be paints everything

When

in a

made

he has thus

uniform brown!

number

of the

of drawings, be begins after

made, by means of photography, the motif which

Despite

this inauspicious

friend of the Pissarros

nism. For the

first

light,

Midi!

in the

Salon painting, a canvas of two meters

his

of a student

extraordinary, he

having

suits

him. 5

beginning, Picabia became

and an ardent convert to Impressio-

time he began to exhibit

Bcrthe

Weill's avant-garde gallery and in the liberal salons in Paris. 6 Critical notice there led in 1905 to a contract

the fashionable Galerie

throughout Europe and the patronage of some of

tions

the

with

Haussmann, followed by exhibi-

most distinguished

collectors

and public figures in

France. 7 Picabia's prodigious production as an Impressionist

revealed faced

Picabia's Fig.

Francis Picabia: Sunrise

in the

Mist, Montigny

three

one-man

who

Roger-Miles

work through

exhibitions, each

of them pre-

suggests an evolution in

modes

three

may

that

be con-

sidered as analytical Impressionism, subjective ImpresII.

Oil on composition board, 12

1906. /s

sionism and Neo-Impressionism.

x 16" (32.7 x 40.6 cm.).

developed during the

latter half

The

last

variety

of 1908; the

first

was

modes

Private collection, Italy.

coexisted throughout 1903-08, although a documentary, analytical

and

approach to nature dominated during 1903-05

subjective

nut Trees (no. 6)

mode

prevailed in 1906. Chest-

example of the documentary

prevalent in Picabia's 1905 exhibit at the Galerie

Haussmann. He chose framed ette

mode

a late

specific,

commonplace

and brush technique to capture the

of that

site,

informally and employed an Impressionist pal-

specific site in

fleeting qualities

an instant of time. Nature seems to

be neither ordered nor dramatized by the

artist,

corded by an objective observer. The contrary

John Rewald

(Ed.),

Camille Pissarro,

but retrue

Lettres a sou Fits Lucien,

1943, pp.496-97. Paris, 1933, p. 105) opened Berthe Weill (Pan! dans I'Oeil! her 1904-05 season with an exhibition of the work of Picasso, Picabia, Raoul Duty, Pierre Girieud and Gaston Thiesson. In 1903 Picabia first participated ill both the Salon des Inde.

pendauts and the Salon d'Automne. first exhibition at the GaHaussmann, Picabia participated in numerous group exhibitions and had one-man shows in Berlin and London. His patrons included the French government and Raymond Poincare, future President of the French Republic.

After the spectacular success of his

lerie

Sunrise in the Mist, Montigny II

(fig.

where Picabia -

according to his custom - restudied a familiar in a

manner

that appears less

site (no. 3)

concerned with optical data

than with sensuous manipulation of colored pigment to express a

mood

Picabia's

1907 exhibition

generated by nature. In the preface to at

Galerie

the

Haussmann,

Roger-Miles wrote that nature:

and

presents itself to us with successive

harmonies; one must trap lifelike

and expressive;

this to

us,

And

necessary that

moved by emotions [un

which

own

sensation,

strikes his retina

in order to reveal all

emotif];

terprets" not that he "copies"; reflects his

varied

infinitely

character in a synthesis both

its

the landscapist be one

necessary that he "in-

work

necessary that his

it is

and not only

the image

that

without having a reverberation

his soul.*

Roger-Miles employed musical analogies to justify departure from reality in Picabia's paintings, and referred to the artist as "the virtuoso, seated at his clavier, picking

Though hardly new,

notes ..."

these late nineteenth-

century Symbolist-Synthesist concepts merit emphasis, for they

formed

the basis of Picabia's esthetic convictions

the remainder of his

life.

Art was conceived not

as the

representation of the appearance of nature, but as the

equivalent of one's emotional experience of nature - an equivalent secured

orchestrating the

autonomous and

In his Neo-Impressionist canvases of late 1908 - early

toward the rigorous structuring of

1909, Picabia turned

nature exhibited in The Church St.

Tropez from

paintings

March

were presented

and

at the Galeries

8).

When

Georges

- but he stressed that visible

response to

work

art

of synthesis

had become a deliberate synthesis

and of "significant form" rather than an

impetuous synthesis of the

visible

and one's emotional

it.

Picabia's career as a celebrated Impressionist

abruptly during the winter of 1908-09. bitter surprise for his dealer

a restless Picabia acquainted

esthetic convictions

abstract art. Tree

period.

this

unknown to the public,

and

own

and

which pointed toward

Portrait of Mistinguett (no. 9)

aspect of Picabia during his Impressionist

They

Galerie

(fig. 2)

had been

with more daring contem-

porary work, experimenting quietly on his

armed with

ended

The break was

and patrons, but

building for some time in a Picabia

reflect

these

Petit in

1909, Roger-Miles again utilized musical analo-

gies in describing Picabia's

of the

Montigny and View of

the Citadel (nos. 7

also introduce his life-long proclivity for

Haussmann,

Picabia, Paris,

Fig. 2

Francis Picabia: Tree.

symbolic properties of form and color.

February 1-15, 1907.

1904.?

Oil on canvas, 21

x 15"

(55

38 cm.).

Formerly Gallery Schwarz, Milan.

Fig. 3

Francis Picabia:

Caoutchouc,

1909.

Watercolor or gouache on paper, 18 x 24

'/s" (45-5

x 61.5

cm.).

Collection Mu-.ee National d'Art Moderne. Paris.

of circular forms, 10 and two

one-of-a-kind paintings that occasionally seem prophetic

its

of subsequent developments but are more often aban-

and

doned, regardless of their

life,

highly abstracted from nature in the manner of his

however,

interest. In

pursue

his inclination to

quickened by Gabrielle Buffet, in the

the

new

fall

of 1908,

directions

was

Within a year of his marriage 1909, Picabia

worked through

(no. 11), painted at the

Though

to Gabrielle in

January

Picabia did not pursue

phases of Fauvism,

Cubism

of St.

Trope:

beginning of 1909, combines a

conservative brand of Fauvism with passages of Impressionist brush strokes. Later in the year, Picabia

bined Fauvism with Cubism, considering Cubism, early date, a concern for basic

Neocom-

at that

form complementary

left it in

in his career, indeed a portion

its

of 19 10 he lapsed into

That unsuspected

stylistic shift

solitary, for

spatial structure

and

commitment to specific sites gave way to compressed space and more highly abstracted forms in such works as

was quickly superceded

during the winter of 1910-11 by a second phase of Fau-

vism evident

in Regattas (no.

new theme with

18),

sexual concerns,

and

an important

Adam and Eve

flat,

faceted forms pieced together

jig-saw puzzle suggest the imminence of total

abstraction - a feat often attributed to Picabia in a

of about 1909, Caoutchouc of

(fig.

clear reference to natural

gouache, other

critics

have

3).

forms

work

Despite the absence in this

insisted that

of his long

career,

in every

of the sub-

though

erotic rather this instance,

thickly brushed

pigment and sensuous colors accentuate

Eve's teasing as she

poised over her naive victim-com-

panion.

By tic

this

time

critics

were noting

course through various

Picabia's restless, erra-

"modern"

styles

- and missing

the single persistent feature of his work, the abiding

mitment

to a synesthetic concept

art.

He was

comnot

convert to Fauvism or Cubism; he merely borrowed 10

Wagner. He was

was

in-

also acquaint-

ed with some of the Symbolist poets and painters, shared their esthetic convictions

his interpretations

(no. 19).

somber-toned

imagery lurks

Gabrielle Buffet's former teacher, Vincent D'Indy,

fluenced early in his career by

Eve

than religious motives always prevailed. In

Bernard Dorival (Twentieth Century Painters, trans, by W. J. Strachan, New York, 1958, p. 1 16) has been an ardent defendof Caoutchouc. Buffet-Picabia ("Picabia, l'inventeur," p.3 1) calls it a still life, and Philip Pearlstcin (The Paintings of Francis Picabia, unpublished Master of Arts thesis, New York University, Institute of Fine Arts, February 1955, p. 24) sees it as a bouncing rubber ball.

er of the abstraction

and

ject are as diverse as those styles,

Path and Landscape at Cassis (nos. 13 and 14). In Abstract

Landscape (no. 15) these

during

vapid naturalistic idiom.

style

Before the end of 1909, traditional

another of the unique works

one of the most

petuously brushed Landscape (no. 12) exhibits such an

blend of faceted or "cubified" forms and intense

still

work.

influential

Picabia returned to the subject of Adam and

colors that serve both decorative and descriptive ends.

also a

abstract possibilities until 1912.

meantime

the

was not an

the "orchestration essentielle" of Fauve color. His im-

eclectic

(figs.

lifes is

darmg venture

Caoutchouc was at least a

abstracting at that date,

and other forms of abstraction. The Port

still

do, in fact, suggest that Caoutchouc

landscapes of 1909.

music student interested

concept of art paralleling music."

cluster

and passed these on to

his students.

Fig.

Still Life.

Francis Picabia:

Fig. 5

Francis Picabia

Still Life. c.

1909.

Oil on canvas, 29 x 36

</i" (73.7

their superficial aspects

>/z

x 18" (57 x 45.7 cm.).

Collection Herbert and Nannette Rothschild,

Collection Dr. Richard Huelscnbcck, Locarno.

some of

1909?

Gouache on ragboard, 22

x 92 cm.).

which served

his quest

and

for a synthesis of the exterior forms of nature

his

mental-emotional response to them. As sensuous color

Normande Puteaux

remained prominent, and

artists

New

had some

common

interests.

York.

all

Few

of the if

any

of them were orthodox Cubists compared to Picasso

and uninhibited brush techniques were more congenial

and Braque, the creators of Cubism. In contrast to the

more to Fauvism than to the complex, conceptual, monochromatic work of Braque and Picasso during 1909-11. During those very years Picabia

largely private, intuitive, formal

to his ends, he looked

became

member of the

Societe

Normande de

Peinture

work, the Puteaux

artists

the intellectual, social art for a

new

era.

and

hibitions, publications

Impressionist artists preoccupied with synesthetic theo-

ranged from the

ries

and the inter-relationship of the

arts.

Rouen, many Parisians participated

Though

in the Societe

esthetic characteristics

They engaged

Moderne, an association composed of Fauve and Post-

latest

development of

their

were publicly concerned about in a steady

of a

new

round of ex-

and meetings where discussions developments in science and tech-

based

nology to the concept of synesthesia, non-Euclidian geo-

Nor-

metry and the philosophies of Nietzsche and Bergson.

November

mande thanks to its proselytizing director and an open, active program of exhibitions, lectures and concerts.

where,

Contacts with Paris were multiplied after the 191

various styles were represented and a series of lectures

des Independants

Salon

where some of the members met (and

were duly impressed by) those first

public manifestation of

artists

who

organized the

Cubism - Albert

Gleizes,

Jean Metzinger, Fernand Leger, Robert Delaunay and

Henri Le Fauconnier. Cubists and

members of

a single, loosely-defined

Puteaux

artists

the

fall

of 191 1, these

the Societe

called the

in frequent contact at the

Closerie des Lilas and the studios of Gleizes, Alexandre

Mercereau and Jacques Villon. The the Cubists dominated, but

stylistic

of Societe

reminiscent

was held

in conjunction

Normande

practices,

with the exhibit. 12 The retention

of these practices helps to account for some of the confusing features of their second group show, the famous

Salon de La Section d'Or in October 1912.

41"

Normande formed

group - sometimes

who were

"salle

191 1 they united for an exhibition in Paris

Picabia's role

among

the Puteaux artists

most ardent advocate of a more synesthetic theories

paintings failed to ries,

was

that

of the

abstract art supported

and analogies to music.

Initially, his

match the persuasiveness of his theo-

but during the spring and

summer of 1912 he realized

influence of

some concerns of

December 20, 1909-January soprano from Vincent D'Indy's Schola cantorum and lectures on Romain Roland and P.-N. Roinard, a Symbolist poet of Normandy. Picabia and Marcel Du-

derne," Salle Boieldien, Rouen,

Societe

20, 1910) included a 11

The Societe Normande de Peinture Moderne was founded Rouen in 1909 by Pierre Dumont, supplanting an earlier organization, Les XXX, also chartered by Dumont in emu-

lation of the Belgian

acterized

group Les

XX.

Exhibitions were char-

deliberate combinations of diverse styles, dec-

orative arts and evening

gram of their

first

programs

in the gallery.

The pro-

exhibition ("Exposition de Peinture

Mo-

champ 12

participated in this exhibition.

For additional information see Leonard Hutton field

ber

and Daniel Robbins,

1964.

New

Galleries,

by William A. CamYork, October 28-Decem-

Albert Gleizes and the Section d'Or, essays

an engaging personal blend of faceted form and Fauvc

which secured him

color

commanding

position in the

avant-garde, and a close friendship with Apolhnairc."

Though and ties

of space,

stylistic

color, ces.

superficially

dependent

Dances

at the

Spring

and 23) on Cubist ambiguiand faceted form, Picabia adapted these

Procession Seville (nos. 22

girls

own

ends.

and composition with

The

at the

light

elements to his

coordinated form,

distinct personal experien-

earthen palette and ponderous rhythms ofDances

Spring refer to his observation of

two

peasant

dancing in the rugged, sun-baked countryside near

Naples. 14 In Precession Seville, blue, black and gray -colors

repeatedly selected

Picabia for themes of mystery and

melancholy - are employed with alooming mass of figures to create a Cubist version of Goya's

ominous

Pil-

grims of San Isidro. This kaleidoscopic pattern of colored

planes suggests that a slight turn of the

artist's

And

gallery.

at his lecture, Apollinaire

spoke on "The

Quartering of Cubism," stressing particularly the orphic

Cubism

new art,

or Orphism. In his booklet, The Cubist

during the

Painters, written

Summer and

Fall

of 1912,

Cubism broadly enough to he deemed to be working in that man-

Apollinaire defined orphic

cover those

artists

Duchamp and

ner - Picasso, Delaunay, Leger,

Picabia.

During the winter of 1912-13, Apollinaire was most excited

by Delaunay's work and

his

concept of Orphism

changed. Pure painting carried to abstraction no longer so heavily in his interests -

weighed

of Delaunay,

who abandoned

and simultaneity preoccupied both the

Light, lyricism

pamter and the poet, while with the founder

hand would

nor in the concerns

abstract painting in 1913.

artists

previously associated

movement were marooned on

critics

and

shoals that

still

historians. 17

Picabia hardly noticed.

He knew

he was on the thresh-

demolish the image, leaving pure form and color to carry

old of significant, original work, and in January 19 13

the brooding content of the painting. Picabia did not take

he and

when Apollinaire sursummer work of Duchamp, Delaunay and

his

wife embarked as self-ordained cultural mis-

Armory Show in New York. Memorable

that step until late in 1912, but

sionaries to the

veyed the

experiences - beginning

Picabia, he decided that a

new, pure

art

had emerged from

Cubism, and he hastened to introduce

at the forth-

coming exhibition of La Section d'Or. 15 This salon was dominated by Cubism, and

considered the climactic public manifestation of that

movement - though marked

tion that

its

Societe

may also

be viewed as the exhibi-

the fission of Cubism."' Characteristic

Normande

heritage

was the inclusion of

other tendencies, decorative arts and a lecture series in the 13

Picabia and Apollinaire had

was no

when

met

as early as 1911,

close relationship until the spring

was tremendously impressed by ly

has been

litz's

alternating serious discussions of art and droll ad-

ventures.

Both men smoked opium

realization

much

later

- then

The

La Revue

des Lettrcs

Mo-

1964, pp. 89-1 12; Guillaume Apollinaire, Les

annote par L. C. Breunig et J.-C. Chevalier, Paris, Hermann, 196s; Robert Delaunay, Dn Cubisme a I'Art abstrait, Paris, 1957; Hcrschel B. Chipp, "Orphism and Color Theory," Tlie Art Bulletin, New York, March 1958, pp. 55-63; and Par Bergman, "Modernolatria" et Peintres Cubistes, texte presente et

1913, p. 71) attributed Spring was "the

claimed the painting was based on an expe-

For Orphism see J.-C. Chevalier and L. C. Breunig, "Apoldcrnes, Paris,

at the

1909.

life

and assorted representatives of the "new

linaire et 'Les Peintres Cubistes,'"

at that time.

Spam in

of Mabel Dodge, and

of Greenwich Village

Art Gallery, Painters of the Section d'Or, catalogue by Richard V. West, Buffalo, September 27-Octobcr 22, 1967.

natural plastic emotion experienced in the

rience during their honeymoon in

habitue of Alfred Stieg-

at the soirees

union leaders, Negro jazz musicians, free-lovers,

suffragettes

environs of Naples." Butfet-Picabia ("Picabia, l'inventeur," p. 33)

York and prompt-

but there

summer,

to Picabia the statement that Dances

New

teeming with aspiring painters and poets, with anarchists,

and summer of 1912 expanded

"Du Sujet dans La Peinture Moderne," Les Soirees de Paris, no. 1, February 1912, pp. 1-4). They were together much of the

cubistes, Paris,

He became an

"291," a guest

fascinated spectator

Picabia's paintings as well as his theories

Apollinaire (Les Peintres

ship with the popular

undertook some abstract watercolor impressions of

his experiences.

Apollinaire's recent interest in "pure painting" (Apollinaire,

on board

dancer Napierkowska - marked the entire journey. 18

"Simultaneita", Bonniers, 18

discrep-

Sweden, 1962.

The dances of the attractive

Mile. Napierkowska were suggesenough to cause her arrest in the United States (unindentified newspaper clipping, New York, 1913, Mabel Dodge Luhan Archives, Yale Collection of American Literature). Hereafter the Yale Collection of American Literature will be tive

ancy between these two claims - either of which could be correct - is less important than the fact that Picabia was now

model other than his memory of an event that evidently occurred during his long honeymoon painting without any

abbreviated to

YCAL.

journey. 15

Octosummer in Munich, Duchamp produced his famous scries of drawings and paintings on The Virgin, The Bride and The Passage of the Virgin to the Bride. At the same time in the Valley of the Chevreusc, Delaunay developed his Windows and notes on his art which later exerted considerable influence on Apollinaire. Galerie de La Boetie, Salon de 'La Section d'Or', Paris,

ber 10-30, 1912. During the

For La Section d'Or

see

Leonard Hutton

Galleries, Albert

Gleizes and the Section d'Or (f.n.12) and the Albright-Knox

For additional information on Alfred Stieglitz as a photographer, editor of Camera Work and guiding spirit of the Little Gallery of the Photo Secession (called "291" after its

Avenue address) sec Camera Work, New York, 1903-17 and America and Alfred Stieglitz, edited by Frank, Mumford, Norman, Roscnfeld and Rugg, New York, 1934. For Mabel Dodge and Greenwich Village life, see Mabel Dodge Luhan, Movers and Shakers (vol. Ill of Intimate Memoires), New York, 1936, and Van Wyck Brooks, The Confident Years, New York,

Fifth

1952.

women."" New Yorkers were bia.

Dances

to the paintings

equally taken with Pica-

of Matisse and Duchamp,

Spring and Procession Seville (nos. 22 and 23)

at the

were the most notorious works on

exhibit,

and he was an

European "extremists," and the only

apologist of "extremist" art

who

Hapgood all

produce objects

But

exactly

that

attempt

is ...

has attempted

part at least to re-

what

art

Art

a successjul

internal state

of mind or

not.

their unrest,

their

then

expressed

and dynamic

his

...

ideas

of creation

at flood-tide,

as a musician improvises music. 11

New York-inspired scenes,

Picabia

on ship-board expe-

Images of moving figures are perceptible in one

blue, black, buff

but

(no. 28),

soul-

of mass and balance

were not new

of static

and gray colors that immediately

recall

These colors not only create an ap-

Procession Seville.

harmony independent of images, but bear con-

notations of clericalism and melancholy

Picabia' s case they are the arrange-

color ...to suggest the equilibrium

qualities

the spririt

of them, Star Dancer and Her School of Dance

event

specific

ment of line and

Such

/;;

the

/ absorb these im-

commercialism

my pictures

and

it,

I feel them, their surging,

city as

when

In addition to these

pealing

There must be technical means by which

mood

of your

streets

New

arrival in

formal properties are more important, particularly the

feeling ...

express the spirit of New York as I feel

exhibited several paintings based

nature

render external an

offered serious esthetic

reported Picabia as saying:

painting

pressions

riences.

Nearly

which I have made since

the studies

I improvise

defense of it, his theories dominated the American press.

Hutchins

crowded

obliging subject for interviews. Moreover, as the sole representative of the

York

his

voyage -

that

which suggest

had amused Picabia during the

Dominican

priest

observing a rehearsal of the

star dancer. 23

to America, but given the

eloquence and charm of Picabia in conjunction with

his

work, they seem to have acquired new significance even

who claimed similar convictions. Two days after the Armory Show closed,

for artists

The almost rius

daily contact of Picabia, Stieglitz and

de Zayas during

this

Ma-

exhibition generated enduring

friendships and mutual stimulation. Picabia's

work and

theories provided exhilarating confirmation

of experi-

Alfred

ments concerning the nature of art and photography un-

New

dertaken by Stieglitz and his associates (especially Marius

York studies which rekindled public excitement about modern art. Vestiges of ships and skyscrapers lingered in some of the watercolors, but the more abstract studies

de Zayas). In turn, Stieglitz underscored the idea that a

Stieglitz

opened a one-man exhibition of Picabia's

Neic York and Negro Song (nos. 25 and 27) became

headline items for local newspapers, and prizes were

machine

(the

camera) could produce

art,

and

Picabia's

esteem of Nietzsche was rekindled by Benjamin Casseres,

whose

articles

approximate Picabia's

ideal

that

philosopher closely

of life:

offered for an explanation of Picabia's widely circulated

preface to the catalogue. 21

New

identifiable objects, but

In poetry, physics, practical

York and Negro Song are

abstract insofar as expressive content

projected not

by form and rhythm, by

energetic orange-red of New York and the

anarchy'?

the

moody purple

by printing

value

era

Monroe ("Davidson

March

were quoted

newsYork, Boston, Chicago, Philadelphia, Nash-

Picabia's preface or portions of

New

the beatification

as I

any

of paradox,

Nothing which

many personalities

Werk{]\me 1913

23, 1913, part S,

documents Jo Davidson's defense of Picabia's esthetics, and Joan Candoer (Cliicago Examiner, March 28, 1913, p.9) recorded Arthur Jerome Eddy's use of the same esthetic arguments in a lecture at the Art Institute of Chicago.

papers of

...

That which changes perpetually

Francis Picabia,

p. 5)

in the

and Hartford among others. Mme. Picabia read it to the Brooklyn Civitas Club; Frederick James Gregg reprinted it in For and Against: Views on the International Exhibition held in New York and Chicago (New York, 1913), and essentially the same theories were kept before the public by articles in Cam-

ville

is forbidden

the

lasts is

lives perpetually

have moods

..."

special issue),

by Arthur Jerome Eddy's

and by Christian Brinton's Impressions of the Art at the PanamaPacific Exposition (New York, 1916, pp. 22-3). A prize for translation of Picabia's preface was offered by the art staff of The World (New York, March 23, 1913).

Sculpture Proves that Artist

has Ideas," Chicago Sunday Tribune,

nothing that

Cubists and Post-Impressionists (Chicago, 1914, chapter six),

Hutchins Hapgood, "A Paris Painter," The Globe and Commercial Advertiser, February 20, 1913, p. 8 (reprinted in Camera Work, nos.42-43, April-July 1913, pp.49-51). Harriet

on the paintings and by repeatedly

explaining his aims: 20

there

of man by man

I desire as

or intention, as Picabia sought to convey

titles

No.

sanctificatiou

and brown of Negro Song. However, they are not abstract in origin

life

longer moored to a certainty, nothing that

York American,

"How New York

March

30, 1913,

Looks to Me," The magazine section, p. n.

Buffet-Picabia, "Picabia, l'inventeur," p. 35.

Benjamin De Camera Work,

New

"Modernity and the Decadence," York, no. 37, January 1912, pp. 17-19. For the concerns of Stieglitz and de Zayas see William B. McCormick, "Patrons Vote to Decide Fate of Photo-Secession Gallery at No. 291 Fifth Avenue," New York Press, October 4, 1914, p. 6, and Marius de Zayas and Paul Haviland, A Study of the Modern Evolution of Plastic Expression, New York, March 1, 1913. Casseres,

New

When

Picabia

left

New

York, he had

in mint!

both

(nos. 37-39). All

of them were

many,

abstract, arid

"291" and some of the most im-

French Impetuosity (no. 37), appear charged with sexual

portant paintings in his career.

teristic

submitted two of his

The gallery was shortwork through the summer, he new paintings to the 191 3 Salon

themes, which by

lived, ;s but, after feverish

tions

modeled

gallery

after

d'Automne, Udnie (Young American and

Edtaonisl (Ecclesiastic) (nos. 31

paintings and their mysterious curiosity. Picabia explained to

Dance) and

Girl;

32).

These enormous considerable

titles stirred

one

this

time had become a major charac-

work. Such themes were revealing

his

of a man burdened by an

woman

mother, muse and mistress. Yet

his paintings

were not merely indulgent autobiographical documents; were transformed

the conditions of his personal affairs

into abstract compositions suggestive of

critic:

reflec-

insatiable appetite for

universal

longings, frustration and despair. Perhaps the finest of

Udnie

taonisl

no more the portrait of a young girl than Ed-

image of a prelate, such as we commonly con-

the

these

/ See

Again

America, evocations from

probing male elements and creamcolored female forms

fugitive im-

somewhat reminiscent of those in Edtaonisl. However, far from enshrining a memory of sensuous pleasure, Picabia's statement is one of futility. The female forms

provides the additional informa-

express only helpless frustration - a quality effectively

They

are

memories

representative of an idea, of a nostalgia,

of a

pression. 2 "

alone are animated

letter to Sticglitz

of several

tion that these paintings are the concentration

of the studies exhibited

The

titles specifi-

more of

alternate letters

"dans" "etoil" which,

when

easily

this

followed

invented

word form

associated with the full

Edtaonisl (Ecclesiastitpie), indicate once

the

embodied

intimately

a cluster

embedded

in a

in an introverted

theme

composition

of soft, gold and cream-colored shapes

writhing

field

of melancholic-clerical blue

and purple forms.

The

title

its

decoded, though so, it

companion

may

piece, Udnie, has

not been

be an adaptation of Undine.

mingles themes of the sea and Mile. Napierkowska

with those of dancing and young American

girls in

appropriately extroverted composition where aggressive

rhythms spring out

in metallic,

hard-edged color planes

of blue, white, green and gray.

The

abstraction, quality

and originality of these two

World War

such canvases as Catch as Catch Can,

"Little" Udnie, Physical Culture

Dear Udnie

during also

his

Mme.

and

(nos. 33, 34, 35

See Again

and

customary winter sojourn

worked

first

in small watercolors

40).

Memory

Early in 1914,

in the

Midi, Picabia

of considerable variety

These "psychological studies,"

ended abruptly

him

secured feur.

was dispatched

the army.

He embarked

paused in

New York

Le Matin,

chauf-

customs torment-

were relieved when Pica-

Caribbean to purchase sugar for in

May

1915, but

when

the ship

he became involved in exciting

and abandoned the military mission.

summer in New York, he was joined by a small colony of French artists including Marcel Duchamp, During

that

Albert Gleizes and Jean Crotti -

all

whom

looked to

modern art since France was absorbed in war. ' Their notion was not farfetched. Modern art had flourished in New York after the Armory Show, and the arrival of Duchamp and Picabia stimulated a new wave of American and French artists who to take

the lead in 2

gathered

at the

Arcnsberg salon and

among them Man

Ray, Joseph

at Stieglitz's

Stella,

bcrg, John Covert, Charles Sheeler, Charles

Letter litz

from Picabia

Archives,

to Sticglitz,

June

"291

Morton Scham-

Demuth and

16, 1913,

Alfred Sticg-

YCAL.

the project was soon terminated.

parties

all

to the

of war and

as a general's

his incorrigible civilian

ed the general, and

activities there

Picabia called them,

French Army. Family influence assignment

a favorable

However,

in 19 14 after the declaration

his conscription into the

Picabia described this gallery, L'Oursc, in a letter to

(November 17, 1913, Alfred Sticglitz Archives, opened by the end of the year (Lanteme, Paris, January 1, 1914, p. 2) and Jean Coctcau was secured to manage its publications (Gil Bias, Paris, December 31, 1913, p. 4), but

plant forms

half-visceral, half-animated

Sticglitz

YCAL).

tantalizingly out of reach.

America

paintings were maintained until the outbreak of the

dumb male forms

beg to be identified but for the most part remain

that

bia

the

labyrinthine area which compels exploration yet leads

title

theme of

celibate priest observing a coquettish dancer. 28 This

where

Ed-

by warm colors;

conveyed by the form and space of this composition: nowhere, and

Picabia's intentions are taonisl.

"291," and bear

them. 27

cally created for

Memory My Dear Udnie (no. 40). is made to a sexual theme by

there which, subtly opposed like musical harmonies, become

ceive them.

Clearer reference than usual

Paris,

December

1913, p.

compound word was decoded by

Paintings of Francis Picabia, (op.

29 I.

This

cit.) p.

Philip Pcarlstcin, Tlic

109.

See The New York Tribune, "French Artists Spur on American Art," October 24, 1915, part IV, p. 2.

Jean Crotti. 30 While

was

Picabia

Duchamp was

closest to Arensberg,

with "291" during

particularly involved

graph

eye.

Armory work he had pursued

the image

The machine

of his

his

voice; the camera the

image of his

"daughter born without a mother." 3 '

period of basic change. Stieglitz thought the

Show might have completed at "291,"

the

and since 1913 he had talked about closing the

gallery. His

younger

associates, especially

him

greed and persuaded

for another year. Their

to support

first

Picabia stressed the psychological and esthetic (or plas-

de Zayas, disa-

more experiments

The machine has become more than

venture was the publication

of an elegant avantgarde magazine entitled 291

the

;

Modern

were intended tellectual

Modern

new

experiments

at "291.

Gallery provide the

many

world, and introduced

This magazine and the

...I mean

identified

critical analysis

mock and

were

mystify, and they suspended

and attributed Dada dates

(c.

1913-1922)

and Dada content to every work resembling a machine.

However, Picabia during the

said he

into

upon

and fraught

modem

studio.

work on and on

until I attain the pinnacle

that

of other

made

statements and the paintings themselves underscore continuities

machine equivalents or symbols to comment on man, deeds, concepts and experiences

artists

links to

man

of men and machines:

accounts in large part for the fantastic appearance

own

comment primarily on man and human situations, and only indirectly on machines, science and technology.

contacts are psychological, not mechanical; they

One of

image. She has limbs

which breathe; a heart which electricity.

Armory Show, "291"

Mme.

machinist

The phono-

refers to the

led a solitary crusade for

Picabia on January 15 and

from John Weichsel

The magazine 2gi which

drawings associated with Picabia's

first

style,

The Girl Born without

machine

- much

graciously

as a "creature"

God had

made

Eugene Meyer almost

all

Modern

largely financed

of the

proved the

created Eve, not

available to this author

son of de Zayas. The

December

to Stieglitz

30, 1914,

on July

and

31,

1917

Stieglitz

(no. 1,

YCAL). March 1915-110.12, February

1916)

initial stock.

he had

played an active role, was probably in-

while living with Picabia during the summer of 1914. Plans for the Modern Gallery are discussed in the Stieglitz-de Zayas correspondence of August-September 19 15 in the Alfred Stieglitz Archives (YCAL) and in the collection ofMarius de Zayas, the latter

41),

from woman

by the widow and

Gallery was de Zayas' idea; it

and the Picabias provided

Though

Stieglitz finally ap-

in it (letter from John Bullock, March 26, 1917, Alfred Stieglitz Archives, YCAL). In 1916, he and de Zayas split temporarily over issues raised by the gallery, though neither Picabia nor de Zayas ever relinquished their enormous esteem of Stieglitz. gallery,

little interest

Stieglitz to

New

York Tribune, op

The

Paul B. Haviland, statement in 291,

cit..

New

York, nos.7-8,

September-October 191 5. 34

spired by de Zayas' contact with the Futurists and with Apollinaire's colleagues at the Soirees de Paris

Mother (no.

made by man for his

notions about terminating "291" appear in letters

(Alfred Stieglitz Archives,

the

beats; a ner-

and photography. Soon afterwards other patrons emerged and several new galleries (Charles Daniel in December 1913; Bourgeois Gallery and Montross Galleries in February 1914) began to show American and European avantgarde work. The most extraordinary patrons were Walter and Louise Arensberg, who assembled a collection of modern and primitive art (now housed in the Philadelphia Museum of Art) and generated an informal salon that attracted the foremost writers and artists in New York.

in a letter

his

the ancient

sent ordinary machines or to function like them; their

art

Stieglitz's

preoccupied with the machine.

his

service

modern

much

of most of his machines. They were not meant to repre-

vous system through which runs

Prior to the

of aim and content. Instead of developing a

vocabulary of abstract forms and colors, Picabia sought

machinist style

and distinguish

the machine in his

act; lungs

the psychologi-

Greeks and Romans developed personifications of gods,

cal-functional analogies

which

from

war, peace, virtues and vices. This persistent concern for

associate at "291," Paul Haviland, stressed the physi-

Man

styhstic transition

of 1913-14 to the machines of 1915, but such

statements of

work. Indeed, these statements provide

this

There was no cal studies

an exclusively Dadaist interpretation

his previous painting,

from

began these paintings suddenly

summer of 1915, 32 and two key

that year preclude

brilliantly plastic

of mechanical symbolism.' 4

with Dada,

prey to a Dada complex. They assumed

Picabia's cryptically inscribed contraptions

that

... to

by which

at length

with symbolism. I have enlisted the machinery of the

documents of a startling

became

this style later

critics fell

intended only to

to interpret ideas or

form which appears most

of life.

style in Picabia's career, the machinist style.

Because

the

the non-commercial, in-

first

a mere adjunct

perhaps the very soul. In

life ...

expose human characteristics I have come

whose standards of quality, proand service to modern art and artists

complement

of human

seeking forms through which

Gallery,

fessional integrity

really a part

second was the establishment of a commercial gallery, the

of machines:

tic) possibilities

The New York Tribune, op. cit. Given Picabia's association of mechanical forms with human forms and conditions, Michel

term "mechanomorphic" (Picabia, L'Oeil du 1964, p.28) properly describes most of the paintings of this period. However, since some works are not "mechanomorphic" in form or in content, this author has (without affection) adopted a more general, inclusive term "machinist" tor the variety of machine-related paintings and drawings encountered from 1915 - c.1922. Sanouillet's

Temps,

Marius

Fig. 6

dcZ.1y.1s

Woman (Femme!). 1915. Psychotype poem reproduced November 1915.

Francis Picabia:

Here She

1 .

New

291,

York, no.

Is (Voifcelle). 1915.

Ink, dimensions

Collection

November

unknown.

unknown. Reproduced

291,

New

York, no.

191 5.

riH

.-'

R L 'u iB iK

â&#x20AC;˘s

$ C

man and

but from

The

artist

ed -

aid

for man's use and companionship. was therefore - as Picabia frequently suggest-

god-like figure. But, as

God

created without the

mother, one eventually encounters concepts

of the "unique eunuch" (no. 71)

ELLE

"merry widow"

(no. 69), the

and the products of

their offspring.

The comma-

plex personal and social relationships of Picabia's

universal in scope and

ers;

often, not

some

This

true

fied

earliest

was too

script

of "Ideal"

in Picabia's drawing),

and

needed to be complemented by the only thing most

Americans could understand about

art

- a commercially

successful gallery.

machines and to invent complex, fanciful contraptions.

During 191 5 most of them were characterized by bold

machinist drawings,

symmetrical compositions, precise forms, striking but

modi-

subdued color harmonies and prominent inscriptions

portraits based

representing Stieglitz in a

slightly

summer

2Qi (no. 42) seems a simple, appropriate

great photographer, but

his ideal

In addition to appropriating machines and manufac-

diagrams and advertisements of actual machines.

The camera

Germanic

approach to

Americans (hence the topmost position and

tured objects like the camera, Picabia began to combine

even close friends and members of

of Picabia's

lofty for

was intended by de Zayas; he mere-

Stieglitz's

instances that con-

the family violated the privacy of those paintings.

most of them symbolic

hostile criticism

contended that

open to thoughtful observ-

chines are rich in content. In tent

No ly

accompanying

issue

symbol

for a

inscriptions

and

whose

cryptic, provocative nature

of the design

(nos. 44-46).

undermines the

One of

composite machines was Voila

elle

alongside de Zayas' psychotype

the

(Here She

Is),

clarity

accessible

exhibited

poem Woman

(fig.

6).

great talent, "faith and love," had failed to realize his

One critic reported that "according to the artists' sworn word these works were portraits of the same woman made at different times and in different places 'without collusion."' 36 De Zayas' poem denounces the woman

"ideal" of discovering

the fact that the

camera

broken are confusing. The key

to these features lies outside the

text

by de Zayas

drawing

America and helping Americans

to discover themselves through art

M. dc

Zayas, statement in 291,

gust 1915-

in an adjacent

to the effect that Stieglitz, despite his

New

and photography.'

York, nos. 5-6, July- Au-

an unintelligent creature wholly consumed by carnal

desires - an opinion

echoed

Unsigned review, Art and 1915. P-35-

in Picabia's

Decoration,

New

drawing of

York, November

pistol

The

and

a target

and

pistol

with connecting mechanical linkage.

forms repeatedly employed by

target,

Picabia as male and female sexual symbols (see no. 80), are aligned with the clear implication that a target hit

would cause

the pistol to be re-cocked and discharged

again in a repetitive, mechanical action. Voila

Fig. 7

Francis Picabia:

Mechanical Ballet. 1917.

Drawing, dimensions unknown. Collection

unknown. Cover

for jpj,

New

York, no.

August 1917.

there-

elle

by becomes an automatic love machine akin in theme and spirit to Duchamp's The Bride Stripped Bare by Her Bachelors, Even (or The Large Glass, 1915-23). However, The Large

in contrast to

machine

Glass, Picabia's love

good working

appears to be in

machine

order, and his

images in general tend to be simpler in form and content, less

marked by painstaking craftsmanship and more

per-

sonal in reference than the cool, metaphysical creations

of Duchamp.

The content of Reverence matic,

(no. 45)

perhaps more enig-

though Picabia seems to have simultaneously

celebrated the sacred formal properties of classic art and

On one level,

subverted them into an anti-classic system. order, balance, clarity

and

stability prevail in

"pure"

square and circular forms and their glittering gold and

But an

silver metallic paint.

and

sitional balance

initial

stability

impression of compo-

undermined by the

off-

center alignment of the diagonal shaft, the displacement

of the smaller

circles

along

and the interior

this shaft,

modeling of the two trapezoids which create thoroughly

ambiguous

illusions

of space,

Picabia wrote along the

painting

weight and shape. As

light,

bottom of

the large circle, this

an object "that does not praise times past," but

merits "reverence" for placing the cherished values of

academic

classicizing,

art at the service

of a new, anti-

rational system.

This phase of Picabia's machinist period ended in the fall

of 1915 when

Mme.

Picabia

went

New York

and

persuaded her husband to resume his military mission. Their travels for about ten months are scantily documented, but

around August 1916 they

celona where

life

French friends,

settled briefly in

was made more pleasant by

among them

Bar-

band of

Albert and Juliette Gleizes,

Marie Laurencin and her husband, Arthur Cravan and Maximilien Gautier. During

this

year Picabia began to

write poetry, and into the early 1920s working as a poet, polemicist, journalist

of his time

and editor occupied

as painting. In

cation of jpj, a journal inspired

though -

typical

much more

at least as

much

January 191 7 he began publi-

of Picabia -

by and named

less

after 2gi,

elegant in design and

personal and provocative in content. 37 In-

Francis Picabia:

See Michel Sanouillet,

and

i960 and and a detailed commentary on each issue. Picabia acknowledged his debt to Stieglitz's 2gi in a letter on January 22, 1917 (Alfred Stiegibid.,

vols.

II,

Paris,

1966, for a reprint of this important journal

litz

Archives,

YCAL).

Ass (Ane). 1917.

Drawing, dimensions unknown. Collection

June 1917.

unknown. Cover

for jgi,

New York, 110.5,

Francis Picabia:

Fig. 9

The Marquesas Ink, 8

/Âť

x 10

Islands,

c.1916-17.

'/:" (22

x 26.7 cm.).

Collection Paride Accetti, Milan.

deed, each issue

and

friends

foes,

an intriguing record of his current

and

a partial

guide to the course of his

tings dating

191

Many 56),

from

almost

all

are also

of machinist pain-

distinct varieties

191 6 to 19 19. In contrast to those

of them are asymmetrical

and gangling

droll

composition.

form

(nos.

54-

while others retain the hard, clean machine esthetics

of the

earlier paintings (no. 63),

and

still

others are ren-

dered in a sketchy, painterly style (nos. 51-53). Content is

also quite varied,

forms and

though sexual themes continue to

may override sexual "man" "woman" code of Machine

with brutal

bia's

in actual

machines or machine-made objects,

Picabia always produced

hand-made machines with sub-

versive dimensions - a straightforward visual analogy in Mechanical Ballet (fig. 7),

printable bilingual play tion

of a

ship's propeller in

Picabia's "painterly" trast to the

and what

probably an un-

the form, function

Ant

and loca-

energy or

preceding works. Study

for

Sweetheart (no. 51)

activity.

message

(fig.

9) identify

an act of love which has been

intimate, sacred or fulfilling. In Pica-

line to the center contact

heavenly source for

His drab partner

his

more independent,

mechanical cricket ready to snap her connections

moment and

During

spring to the next unconnected male.

Picabia's third sojourn in

about March to October 1917, these qualities

They

New

became increasingly pronounced

reflect a bizarre life

marked by

York, from

caustic, disturbing

in his

work.

excesses in alcohol,

drugs and sex, by madcap parties and feverish work be-

tween In

spells

of neurasthenia and profound depression.

September an exhausted

their children at a

Madame

Picabia returned to

boarding school in Switzerland. Pica-

soon followed her to Europe, but had to go to Barce-

lona because of unsettled military status. His

first

volume

of poetry was published there before he was cleared

November

to return to

Paris.-'

and efficiency that would endear her to Leger; she

instead a soft, beguiling, irresistibly helpless female

gadget - a veritable sweetheart. is

its

bleak composition,

but equally impersonal - poised with her "sac de voyage"

bia

(fig. 8).

machines provide a visual con-

lacks the mass-production personality, streamlines, precision

need not be exclu-

drawing

of the male machine indicates

but Picabia was never content

Corbusier and Ozenfant extolled the beauty and economy

meta-mechanics, the dotted

in a

with merely the esthetic properties of machines. While

and

stripped of all that

implications in the

50),

The forms of this

male and female machines

like a

of form

inability to function

clarity.

inscriptions

its

dominate. Striking visual properties

Turn Quickly (no.

its

sively comical. Universal Prostitution conveys

poetry and painting.

There are several

thrashing spectacle of love, but the ambiguous nature of its

couched

(nos.

54 and

machine

disturbing content

Amorous Parade and Universal 55).

The

Prostitution

brightly painted, preposterous

Amorous Parade may be

spoof on the noisy,

Cinquante deux miroirs, Barcelona, 1917. Picabia's friend and important avant-garde art dealer in Barcelona, Jose Dalmau, aided in the publication of this poetry as he had helped with J9>-

Dismal war-time conditions in the capitol were re-

by Germaine Everling, who became his devoted companion and common-law wife until the early 1930s. However, his unwillingness to part from lieved for Picabia

Madame

either his wife or

ous

life

Everling created a tumultu-

and most

that aggravated his nervous disorders,

an associate of the Salon, they hung

Dessaignes retaliated quickly with

prompted

391 that

from

resignation

demand

and

the Salon

model

for Picabia's regular

much of the

ne and Salon des Independants.

year, he turned

finished three

new

volumes, Poemes

and Draiviugs of

and

la file

et dessins

saus mere, L' Athlete des pompcsfunebres, toniques (Poems

and

intently to poetry

nee

Rateliers pla-

Born without a

the Girl

"Dada" and

wrote Picabia,

this unsettled

period that Tristan Tzara

August 1918, inviting him

to collabo-

with the Dada movement. 41 Immediate mutual de-

rate light

over each other's

work

led to the Picabias'

memo-

with the Zurich Dadaists during January-

rable visit

February 1919. The rejuvenating

effect

of that

visit

was

promptly reflected in issues of Dada and 392, but there was relatively little that Picabia could

effect

of his

visit

one must look

between Tzara and Picabia

Dada

alter the

long-

of Dada in Zurich. For the more

established character

profound

do to

that led to the

at the

rapport

opening of

the occasion of the

1919 Salon d'Automne - with the quiet encouragement

of Duchamp and the

- he did so

superb Child Carburetor (no. 63), were samples of

like the

his established

machinist

been exhibited in

Paris,

style,

and

art,

but nothing like

officers

Salon, eager to display the

French

support of Ribemont-Des-

brilliant

spectacularly. His entries to the Salon,

of the

first

this

had

post-war

untrammeled standards of

were mortified. Unable

to refuse the

See Germaine Everling-Picabia, "C'etait hier

work of

Dada

on these years

in Picabia's

life.

was

d'Autom-

also the first "orga-

Dada movement

1919, Picabia had strived futilely to atParis,

and Tzara,

warned Breton

in turn,

had sought un-

and Breton. Someone had

to avoid Picabia,

and the

latter

Breton's journal Litterature far too serious for his

Breton was indeed

consuming quest

He had

serious.

fied

with

it.

already undertaken a

for the secret core of art

quest richly nourished awhile

found taste.

and

by Dada but never

life

identi-

Nonetheless, the mutual suspicions of Bre-

ton and Picabia were largely dispelled by an exciting

meeting on January Tzara

who

1920, shortly before the arrival of

fused the fragmented

into a volatile

Dada elements of Paris

movement. 44 survive long, but for the

time being Parisians were variously enraged, alarmed and delighted

by the spectacle of Dada. The apartment of Germaine Everling served as Dada's work-

Picabia and

shop, and Picabia's role jgi

and

new

was considerable. His

issues

magazine, Catmibale, were outstanding

examples of Dada journals, and to the wave of Dadaist poetry he contributed three langage,

more volumes:

Pensees sans

Unique Eunuque and Jesus Christ Rastaquouerc

(Thoughts without Language, Unique Eunuch and Jesus Christ

Showy

Adventurer). For the public festivals of Dada, such

For this letter and the Tzara-Picabia correspondence see Michel Sanouillet, Dada a Paris, Paris, 1965, pp. 466-502.

She will soon See 391, no. 9,

November

1919; 391, no. 10,

December

h 'Anne an de SaMme. Ever-

of 1919, shortly before the birth of his son by from Gabrielle became official.

See the Tzara-Picabia-Breton correspondence in Sanouillet,

of his poetry, these volumes reveal a subtle affinity with Picabia's paintings. Excepting occasional love poems of great delicacy, they are imbued with profound melancholy and veiled but haunting reflections of philosophical and

Duchamp's

publish a

extensive account entitled

turne autour de Picabia. Picabia

Tzara to

successfully to unite Picabia

(Les Ociwres Litres, Paris, no. 109, June 1955, pp.119-178), for information

though the use of the word

Paris,

The movement would not

arrived in Paris in March, and,

saignes

and almost single-handed

the creation of a veritable

Throughout

front in Paris.

Picabia yearned to launch Dadaist activities as soon as he

awaited Tzara's administrative genius.

tract

was during

a challenge to a duel

the increasingly conservative Salon

Dada activity in

nized"

Mother, The Athlete of Funeral Parlors and Platonic Falseteeth)."

vitriolic issues

Louis Vauxcelles. 42 This Salon episode became a variable

assaults

Swiss health resorts in an

at various

two

for Ribemont-Dessaignes'

unsuccessful search for health and calm. "Unable to paint

of 191 8 was spent

dark

his paintings in a

alcove under the grand stairway. Picabia and Ribemont-

ling in the

fall

her. In 193

began to

live

all

more concerned with content than with form,

ultimately

formal pattern emerges. Ambiguous words and shocking, mysterious thoughts are closely paralleled by formal ambiguities: ambiguities of punctuation and division into slashing, a

irregular lines, bewildering sequences of ideas tent

Dada

his divorce

psychological reactions to episodes in Picabia's private life, or to conditions in the world about him. Though he is patently

and Michel Sanouillet,

with

rhyme, rhythm and

alliteration.

and inconsis-

a Paris, especially pp.112-13, 446, 451-53,

least part

role

1919,

Francis Picabia et 391, vol.11, p. 107.

difficult to evaluate.

and 490.

lived in Paris

(at

of the time with Picabia) from July 1919 to Febru-

ary 1920, just as

Dada was

getting

underway there. However,

he did not participate in any of the public activities of the Dadaists, and few documents are known which clarify his private role. When measured against the documented contributions of Tzara, Breton and Picabia, it does not seem that Duchamp added significantly to the development of Dada in Paris - though several of Picabia's works suggest the continued stimulation provided him by Duchamp.

"Manifestation

as the climactic Picabia

March

27, 1920,

was

Dada" held on Before the per-

a jack-of-all-trades.

formance, the audience perused a Picabia-designed pro-

gram and an issue of jgi packed with confounding poetry, Duchamp's L.H.O.O.Q. and Picabia's

salty aphorisms,

Blessed Virgin

(fig. 10) as

well as vicious attacks on the re-

He was

vived Section d'Or Cubists.

also responsible for

the stage decor, consisting of a suspended bicycle wheel,

cords stretched across the stage in front of the perform-

Francis Picabia:

The Blessed

Ink, dimensions

Collection

March

"If

unknown.

unknown. Reproduced jgi,

1920.

and large framed signs bearing such inscriptions

ers,

Virgin. 1920.

Paris, 110.12

you

stretch out

your arms your friends

off." Finally, Picabia

contributed an insulting manifesto

and an assemblage with a toy monkey of Cezanne, Life (fig.

Portrait

12),

them

will cut

entitled Portrait

of Renoir, Portrait of Rembrandt,

Still

performance that in-

to an uproarious

Ribemont-Dessaignes' music, "The Dance of

cluded

Curled Chicory" and Tzara's play, "The

First Celestial

Adventure of Mr. Antipyrin," complete with Picabia's costumes.

This assemblage and such works

The Blessed Virgin

Dada

(figs.

10 and

of Picabia. Because he and

art

Double World and

introduce the distinctly

1 1)

Ribe-

his colleagues,

mont-Dessaignes, Jean Crotti and Suzanne Duchamp, primarily exhibited machinist paintings, identify Picabia's machines with

were Dadaist to the extent that they tion about the pre-eminence treated in harsh or

an unfettered

indeed, they

reflected his convic-

life

over

However, they were

and often

art,

humorous ways anything

life.

from machinist

tended to

critics

Dada - and,

that hindered

little

different

paintings prior to his association with

Dada, and they gave way during 1919-21 to some original assemblages, to the stunning irreverence of The Blessed Virgin

and to the deliberate technical crudity and icono-

and Double World. The

clasm of Portrait of Cezanne latter (exhibited at the first

Dada performance and

1920 Salon des Independants) scriptions

and an abstract

a balance

interlace

at the

of biting in-

whose convoluted it describes -

loopings seem compatible with the world

top ("haut") at the bottom, bottom ("bas") upside at the top,

and

ed. Plastered

O Q,"

of maladies which

full

down

the center of

God

down

has never cur-

are the letters

an indecent arrangement devised by

Duchamp

or Picabia which reads in French "She has a hot arse" ("Elle a

Dada was

chaud au is

cul").

not entirely definable, but close to

a protest-expose

hypocrisies of

of the

man -

his

Michel Sanouillet, Dada initially

intended to use

its

absurdities, pretensions

core

and

systems of religion, law and

may have monkey for Portrait of Cezanne.

a Paris, pp. 164-8. Picabia

a real

Fig. ii

Francis Picabia

Fig. 12

The Double World (Le double monde). 1919. Ripolin on canvas, 52 x 33 '/z" (132

85 cm.]

Francis Picabia: Portrait oJ'Cezanne, Portrait of Rembrandt, Portrait of Renoir, Still Lifcs.

1920.

Toy monkey and

Private collection.

Collection

April 25, 1920.

_LE DOUBLE

MONDE-

oil

on cardboard, dimensions unknown.

unknown. Reproduced

Cannibale, Paris, no.i,

Fig. i?

Francis Picabia:

Fig. 14

Francis Picabia and

anonymous

engineer:

Hoi Eyes (Les yeux chands). 1921.

Hoi Eyes and schematic drawing ot

Ripolin on canvas, 78 x 62 '/:" (19S x 158 cm.)?

Reproduced

Collection possibly

M. H.

Saint-Maurice, Paris.

neath Fig Leaf (La feuille de vignc), 1923.

Undc

1921, p.l.

Lc Matin,

Paris,

governor.

November

10,

morality, his inflated notions of

demons within

exorcising the

and

to free themselves;

Dadaists this led to their art.

Try

art,

love and logic.

these, the Dadaists

sought

hands of the most profound

in the

13 Picabia

win

work to take such a step. Duchamp and were among the very few with nerve enough to

that greater

measure of freedom, each

way. Duchamp steered

and

self-discipline

hedonist,

less

clear

false

concerned about the

This success

of Dada;

gods with uncanny an

Duchamp

and

finally

almost gave up

embraced

promptly departed straint.

Such

signs

all

art;

attracted

.finally

persons

became a grand success!

who have

Dada would have

court, lawyers,

I do not like illustriousuess

Picabia loved to

are nothing but illustrious

disciples

who

possi-

to flee as far as

soon probably gendarmes

and

men. I prefer

of Litterature

the directors

walk

random,

name of the streets matters little, each day resembles the other if we do not create subjectively the illusion of something

new and Dada

no longer new â&#x20AC;&#x201D;*'

Appropriately enough

an outrageous malaise of

Dada

this

defection of a principal

foreign origin, but serious observers early perceived

two

Dadaist spurred the

streams - one represented

and

those he denounced - and the protagonists

Picabia,

name

the

of boredom or con-

by Tzara and

only the

everything changed around me, I had the im-

ble....

began to appear in Dada during the

summer of 1920. Most critics of Dada saw

Noiv Dada has a

never

kinds of art movements, but

at the first signs

"understood" and I had only one idea,

of those gods

falsity

pression that, like Cubism,

utter

joined an art movement, did not depend on art for a

paint and

and

were treated as crazy men, as practical

(the Dadists)

jokers, as queer fellows.

own

in his

Picabia was

objectivity;

than their power to hinder his pleasure.

living

withdrawal from Dada in

his

healthy ridicule of themselves and

highly of their Picabia

announced

bitter public statement:

they might, most Dadaists thought too

On May

both the word and movement of Dada. 48

activities

of both Picabia and

were worthy

another headed by Breton and his friends, Eluard, Ara-

of each other. Though the 1921 Dada season had been

gon and Soupault. 46 Tzara and Picabia had sensed from

imaginative

the beginning their colleague's clinical interest in

Dada

- a suspicion confirmed by Breton himself in an

article

summer which

that

beyond Dada." to break

intimated his concern for a goal

An accumulation

with Breton

at the

of incidents led Picabia

end of the summer. The

Pilhaou-ThibaouJ"

grand

Dada

season was nominal. In April,

fire

was put

new

to his

simmering suspicions and general disenchantment with the "success" of Dada. table

Dada

tribunal

Christian

was formed

left at a

for a

letter

mock from

trial

of a promi-

Swiss Dadaist,

Schad, proclaimed that not Tzara but the

German Dadaist Dr.

pocketbook

of Dadaists became the focus of a doctrinal dispute;

nent literary figure, and a

waiter's

air,

tisme"

tributed

gave

Picabia

successful,

ex-col-

his

They responded

kind with Dada-au

and Picabia struck back with

his "je

m'enfou-

don't give a damn) technique in a handbill dis-

the thousands at the 1921 Salon

d'Automne. 51

This Salon and the 1922 Salon des Independants were

schism was not healed until the beginning of 192 1, and

even then Picabia's participation in planning for the

and

leagues a delicious thrashing in a special issue of jpj,

his

most spectacular

that the description

ones. Picabia's reputation

was such

of one of his Salon d'Automne pain-

was taken

tings as "explosive"

literally,

and mounting

concern forced the President of the Salon to post

and were

safe. 52

When a

reporter discovered the machine

source for one of the paintings, a

Salon President

(figs. 13

a notice

had been inspected

in the press that Picabia's paintings

and

14),

mock homage

to the

Picabia replied:

Serner had been the true initiator of

Bombe

Marcel Bouknger ("Herr Dada," attrib. to Nouvelles, Bordeaux, May 3, 1920) sought to discredit Dada by associating it with Germany, Bolshevism and anything radical, foreign and un-French.Jacques Riviere ("Reconnaissance a Dada," La Nouvelle Revue Francaise, Paris, no. 83, August 1, 1920, pp. 216-37) discussed Dada in proto-Surrealist terms and perceived two streams in the movement (Tzara-Picabia and Breton-AragonSoupault) of which only the latter merited a place in French literature. Georges Charensol ("Manifestation Dada," Comoedia, Paris, March 29, 1920, p. 2) saw Tzara and Picabia as the only real Dadaists, while the rest were merely young men amusing themselves.

Lc Pilhaou-Thibaou

Andre Breton, "Pour Dada," La Nouvelle Revue Paris, no. 83, August 1, 1920, pp. 208-15.

Dada an grand air, Tarrenz B. Amst, September 16, 1921, was assembled by Hans Arp, Max Ernst and Tzara while vaca-

Francaise,

For these events see Clement Pansaers, "Une fiture," Pilhaoit-Thibaoit {391, no. 15),

chel Sanouillet,

Dada

July 1921,

deconand Mi-

p. 8

a Paris, pp. 271-3, 566-8, 254-66.

Francis Picabia, "Francis Picabia et Dada," signed

published in L'Esprit Notweau, Paris,

1059-1060. See also Francis Picabia,

May

13,

June 1921, pp. Picabia se separe des

110.9,

"M.

Dadas," Comoedia, Paris, May 11, 1921, p. 2. Picabia's friendship with the Director of Comoedia, Georges Casella, gave him ready access to its pages, and for about one year he contributed

monthly

articles to

it.

(391, 110.15), Paris,

July 10, 1921.

tioning in the Tyrolean Alps. 52

L'Intransigant, Paris,

October

13, 1921, p. 2.

IDYLATE

FRAHCI5 f ICJMUA V»nk

Fig. 15

Francis Picabia

The Cacodylic Eye. 1921 Ink,

gouache and collage on canvas, 45

(115

x 114 cm.).

Collection

'/••

x 44

Musee National d'Art Moderne,

'/»"

Paris.

/ congratulate the newspaper Le Matin not only for discovering the secrets but for comprehending

To copy

apples, that

a turbine, that

The other

them."

comprehensible for everyone ,

is idiotic.*

painting, The Cacodylic Eye

with about

in collaboration

copy

was done

(fig. 15),

fifty friends

(and a few ene-

mies) as they dropped by the apartment. These friends - among them Duchamp, Darius Milhaud, Cocteau,

Isadora Duncan, Paul Poiret, Tzara and the Fratellini

were invited they covered

enjoyed a

"interior

field

Francis Picabia:

Straw Hat? (Chapeau de Paille?). Oil, cord

with a scattering of collage elements,

signatures, doodles, puns, aphorisms critics

Fig. 16

do to the canvas what they wished, and

(92

and homages. While

x73

and paper on canvas, 36

1921.

'/ 4

x 28

cm.).

Collection Dr. Lemasle, Paris.

day with what one called the

of a pissotiere," Picabia published one of his most

revealing dadaist statements:

CHATEAU The painter makes deformation

the

simply sign .

a choice, then imitates his choice so that

constitutes the

in place

it,

why

the choice,

art;

of making

monkey

like a

not

before it?

This canvas was finished when there was no longer space

011 it

and I find

that all

this

painting very beautiful

of my friends are

purpose of his

art,

namely

it is

made

Further along in this article Picabia clear the

...

perhaps

artists just a bit

still

responsiveness to

its

life:

Me, I would

like to found a

young people from a capital.

Art

in the temples

of Art,

would

great despair

good snobs

discourage

call

Art with

everywhere, except with the dealers of Art, like

God

Look, boredom

churches

"paternal" school

that which our

everywhere, except

the worst oj maladies

in the

and

be precisely to be taken seriously,

become a great man, a master

He had no

<?'

worries on those counts as far as Paul

Signac, President of the Salon des Independants,

cerned

at the

was con-

FRANCIS

PlCOU-ic*.

1922 Salon. Picabia submitted three works,

Dance of Saint-Guy, The Merry Widow and Straw Hat? (nos. 68 and 71 fig. 16). Although the Salon des Indepen;

dants was not supposed to reject tion,

work

Signac wrote Picabia that the

not be accepted because they did not

work admitted

to the Salon 56

and -

sent for exhibi-

two

last

fit

pieces

would

categories of later told re-

porters:

Francis Picabia,

open

letter in

Le Matin,

Paris,

November

Picabia,

10,

1921, p.i. Francis Picabia, "L'Oeil Cacodylate," Comoedia, Paris,

vember tive

chattels

may have been

composition Fig Leaf (La.

No-

23, 1921, p. 2.

Les Yeux

Marthe Chenal and Igor Stravinsky

planned for chattels, but

also

the 1921-1922 season a musical entitled Les Yeux

Francis Picabia,

Paul Signac, letter to Francis Picabia, January 17, 1922, in Dossier Picabia VIII, p. no, Bibliotheque Litteraire Jacques Doucet, Paris.

painted over with a figura-

feuille

de vigne, Saint-Maurice

collection, Paris), exhibited at the 1922 Salon

d'Automne.

was not produced.

ibid.

interpellation at the

Picabia caused us an

Chamber [of Deputies].

repeat the experience

Grand

do not want the government to refuse us the

Palais next year. Already, last year

do not care

are hardly disposed to tolerate

cet,

and interested him temporarily

in seances

and

life

Breton also provided

art.

a lecture

Dalmau Gallery in Barcelona late in 1922. 61 The paintings in this exhibition revive the

Picabia immediately sent a letter of protest to the Pari-

style,

by Picabia and

public denouncements

a caustic handbill

A few

door of the Salon.

distributed at the

continued

de-

critics

but

form with new

in a distinctive

with occasional indications of

are characterized

by somewhat simpler compositions,

- though not

"Merci pour to be read

accepted

pour celui qui ," . .

one

suggested that

critic

"Merdc pour

as a fact.

." .

regarde" should be read

and soon

this

was meant

rumor became

became

activities Picabia

involved in Breton's Congress of Paris - hardly venture

as indicated

by the

gress for the Determination

of the Modern

Spirit." 5Q

goal or direction

full title,

of Directions and the Defense

Breton was

still

tious in his search for

While Breton seemed preten-

what

beyond Dada, Tzara was

lay

enemy, Tzara, became

Picabia (assiduously courted

a foe

when

his

of the Congress,

by Breton) became

a sarcas-

supporter of it. Bitter fighting between the Tzara and

the Breton-Picabia

camps

killed the

plied an already confused mosaic ces.

The Congress

tant articles

did,

on Dada,

Congress and multi-

of enmities and

allian-

however, generate some importhe brilliant polemical pamphlets

Vohtcelle I (no. 73),

tions

Vohtcelle suggests the presence

- a suggestion that

and newspa-

Breton

of something more

paintings and the preoccupation of Picabia and several

colleagues with the symbolic use of such simple forms as

dots and In

lines.

Volucelle II (fig.

placing

nude

circles

and by

a striped field,

torsos over a similar held in Conversation I

(no. 76), there circles

the large dots of Vohtcelle I

17),

have become colored

an implied link between colored dots or

and the human

figure. Picabia's intentions

remain

mysterious, but in the headless, limbless figures entitled Conversation

it is

possible to note a taste for ironic con-

which extends to the formal properties of the painting - optical tensions between two and three-dimentrast

sional space

and contrasts of forms

abstract, soft

negative.

and hard,

Duchamp

static

of these

of c. 1922, Optophone

nor machine

that arc organic

and

and moving, positive and

has verified Picabia's concern with

tings

liberal salon

others, like

supported by other contemporary

ton and Picabia until they clashed over Surrealism in

Their plans to found a

still

of simple geometrical forms. However, the curious

optical illusion in another

1924.*

and

appear to be non-objective composi-

of Picabia and Tzara, and the renewed friendship of Bre-

per never materialized, but Picabia did collaborate with

esthetics

of the paintings deal with machines.

patterns and electrical equipment,

seeking that

seeking to continue Dada. That was worse, and

tic

Dada Con-

beyond Dada, and Picabia promptly

attacked the Congress.

greater

"International

all

Many are based on astronomical charts, diagrams of wave

title

At the height of such Dada

and

career. In contrast to previous machinist paintings, these

him excluded or else preoccupied with the inscriptions on Straw Hat? Though Picabia claim-

machinist

major turn in Picabia's

fewer inscriptions, and more severe machine

ed that

at the

subjects

fended Picabia's right to show the works, but most were either delighted to see

and cata-

logue preface for Picabia's important exhibition

excesses which can only discredit or dishonor our Salon.- 7

sian newspapers, but Signac stood firm despite

of hypno-

tism - another non-Dada attempt to probe the inner core

field

and

figure pain-

(no. 77)," but neither optics

esthetics is as distinctive as his taste for human-

mechanical analogies - or in

this instance,

human-electri-

in the latter's journal, Litterature. Breton, in turn,

introduced Picabia to an important patron, Jacques

Dou-

In the

ment

fall

of 192 1 Jean Crotti introduced "Tabu", an

characterized

by geometrical

art

move-

abstractions with dots

or circles and lines suggestive ot views of the cosmos, planets, orbits

R. Cogniat, Interview with Paul Signac, Comoedia, Paris,

January 21, 1922, 58

A. Gybal, "Lc 'true' de M. Picabia," Journal du Peuple, Paris, January 21, 1922, p. 2, and G. Maillot-Duparc, "Le bon ," Tribune, Paris, January 31, 1922. (attrib. D. P. VIII, True

See Michel Sanouillet, Dada a Paris, chapter sier

du "Congrcs de

These

articles

XX and the Dos-

Paris," Bibliothcque Nationale, Paris.

and pamphlets include Picabia's La Poiiuuc

Raphael, February 25, 1922; Tzara's Le coeur a Barbe, Paris, April 1922, and Breton's "Lachez-tout," Litterature,

pins, St.

Paris, no. 2, April 1922, pp. 8-10.

Dalmau, Exposition Francis vember 18-December 8, 1922. Galeries

63 Picabia, Barcelona,

No-

like. le

His writings and drawings (Jean Crotti, Chetnin de

7c, Paris,

1941) suggest a

vague symbolism especially involving circles, eyes, the human head, radio waves and other phenomena. Since 191 8 Duchamp had also worked with dots and circles (parts of The Large Glass; To be looked at with one eye, close to, for almost an hour; Rotary Class Plate) with various symbolic and optical properties. He later said: "Reduce, reduce, reduce was my thought; ... I came to feel an artist might use anything - a dot, a line, the most conventional symbol - to say what he wanted to say." (Marcel Duchamp, statement in "Eleven Europeans in America," The Museum of Modem Art Bulletin, New York, vol. XIII, nos.4-5, 1946, p. 20.).

P-U3)59

and the

Courants d'Air sur

p. 2.

Marcel Duchamp, notes for the Hotel Drouot

sales catalogue,

Tableaux Aquarelles, Dessins par Francis Picabia, Paris, March 8,

1926, n.p.

cal analogies.

gram of a

The

static

circular patterns here resemble a dia-

magnetic

around

field

a current-bearing

conductor, and by placing a female nude with her point

of sex

of the

at the center

field,

Picabia

makes her a

"charged body" or the "conductor of the charge." Interpretive possibilities are richer

still

contemporary

in the

Spanish Night (no. 80), which further develops the erotic suggestions of Optophone and the formal contrasts of Conversation. career,

More important

for Picabia's subsequent

however, was the heralded return to figurative

art.

1923 machinist and abstract painting had almost

disappeared from his work, while figurative art (which Fig. 17

Francis Picabia: Volucelle II.

he had never totally abandoned) became his chief ex-

1922-23.

Collection

York.

M. and Mine. Jacques-Henri

Levesque,

means for the following twenty years

pressive

Ripolin on canvas, 78 x 98" (198.5 x 249 cm.).

New

known

cession of styles

in a suc-

as the

"Monsters," the "Trans-

parencies," "Superimpositions"

and "Popular Realism."

In taking this step, Picabia participated in a

prominent

trend of the 1920s toward conservative adaptation of

modern

art to

Western

art,

traditional forms. Nonetheless,

was never again considered and suddenly

mainstream of

to be in the

seemed to have

his paintings

nothing whatever to do with the preceding Dada and machinist work. Contemporary conservative this stylistic

evolution

ultimate discredit of Dada. seen

Most subsequent

as a disastrous, inexplicable lapse

quality,

noting that the

critics hailed

return and the

as the prodigal's

loss

critics

have

of judgment and

of Picabia's major, avant-

garde status coincided with physical retreats -

first

suburban Tremblay-sur-Mauldre (mid-1922), and then in 1925 to his estate in

Both viewpoints style,

Mougins overlooking Cannes.

rely heavily

superficial elements

neglecting other formal features and a dogged

consistency of temperament and content. Picabia acknowledged that his paintings, "very in rapport I

that

my life,

lands that

see, the

no need

with

to be

is still

what

like best." 66 Neither did

and codify

little

ipate in

it lasts

are

he think

movement

de-

like "the

who

"fancy that an epoch

who

great

partic-

numerous." 67

Roger

110.9,

1959. PP- 3 3- 2 4-

Vitrac, "Francis Picabia, eveque," Journal du Peuple,

June

1923, p. 3.

Francis Picabia, 'Jesus dit a ces juifs,"

February 25, 1923, 67

he saw

One notable exceptionisLawrenceAlloway,"London Letter,"

Paris,

a long time or because those

Art International, Zurich, vol. Ill, 65

this,

school of beaux-arts cubists founded

by L'Esprit Nouveau" because

But beyond

traverse," 65

modern: "To make love is not modern, but

sirable to perpetuate

adepts of the

much

change according to the people

Vie Moderne, Paris,

p.i.

Francis Picabia, "La

bonne peinture," L'Ere Nouvelle, Au-

gust 20, 1922, pp. 1-2.

Shortly after publication of the

Instead Picabia proposed:

November,

realism in

man who would

who

will not be socialist or

would lead us toward lore which

new world

the

to discover: the

mediocre have no desire

the

which frightens the "intellectuals" for

Such statements do not indicate

fear

had not diminished. Nor had

a radical

primacy of life over

change

delight in his 1924 ballet Reldche

of approba-

and film

(fig. 18),

created in collaboration with Erik Satie and

acte,

Clair for the Swedish

was

Ballet.

Eutr'

Rene

This "instantaneist" ballet

his antidote for Surrealism,

merely

which he misjudged

warmed-over version of Breton's past grandiose, laboratory-conceived projects.

disaster-prone,

Though

Picabia had been influential in the emergence of Surrea-

accommodate

lism, he spurned Breton's willingness to

him

to the

movement

and four

several articles

and heaped

final issues

an interviewer's question,

ridicule

upon

of 391. In response to

new movement

"Is there a

want

to tell

you

seek to fabricate

...I hold

will always be

Artificial eggs don't

it.

What

always a movement, but

that

beyond those who

make

chickens. 10

truly only one thing that can seduce us,

the perpetual evolution

of life:

little

God

ses

you

similar spirit also

Reldche

creates life

reflections

Reldche advi-

be livers

Dada epoch; indeed assemblages so

much

marks some of

in the spirit

of Dada that they have

long been attributed to the period of is

his art after the

1927 he was producing

as late as

1918-20. There

one signed and dated example of 1920 [Matchwoman

Bergman

Chicago), but

collection,

indicates dates ranging

nal subject matter

from 1923-1927. The conventio-

and painterly

of Reading (no.

qualities

more compatible with the "monster style" of the mid- 1 920s than with earlier Dada works - and in a Hotel Drouot sales catalogue of 1926 Duchamp grouped Read83) are

ing

with

a section

of "monsters" painted

ing 1924-25.

The same

picks (no. 84)

and

date

Cannes dur-

indicated for both Tooth-

Portrait (fig. 19)

their painterly qual-

their exhibition histories, their special

Pierre Legrain, and,

above

spondence. 75 Portrait

revised

form

all,

work. In

a particularly helpful

The Bcautijul Pork Butcher

frames by

by contemporary corre-

other evidence

all

(fig.

founding self-liberation from the past 74 In it is

In order to have some-

thing to say, one must begin by living

Rolfde Mare, Rene Clair, Prieur and I have

bears witness to Picabia's constant and sometimes

being and remaining outside of every chapel

/ believe there

Reldche prom-

tomorrow

bonheur oj instants without

ities,

[Surrealism] preparing itself?," Picabia answered: Inevitably! There

life:

oj today, noth-

with a great burst of laughter; Erik

the

life

he demonstrated with utter

art, as

without yesterday, the

life

created Reldche a

and

conviction of the

his

Satie, Borlin,

world

enter

of ridicule."*

Picabia. Certainly his old Dadaist disregard

tion

enades through

man, finally who

it; life

ing for yesterday, nothing for

communist or the contrary: a

will be himself simply ...

as I love

life

not be preoccupied with modernism or cubism or dadaism;

man who

Manifesto of Sur-

first

Picabia presented Reldche as

who would

not be influenced by anyone,

form,

Portrait

its

20),

dumb-

original

relevant to the dating of Centimeters (no.

85), intellectually

and sensuously the most engaging of

these assemblages. Centimeters actually does not contain

even a full centimeter; it is missing two fragments of a 100 cm. tape - one of them the first eleven centimeters which 68

Francis Picabia, "Ondulations cerebralcs," L'Ere Nouvelle, Paris,

appears as the nose in Portrait (and The Beautiful Pork

July 12, 1922, pp. 1-2.

See Breton's comment in Lc Siirrealisine et la peinture, New York, 1945, pp.48-9. While there was nothing Surrealist about Picabia's use of words on paintings, his unusual assemblages, or his ink-splot Blessed I 'irgin, these were near-at-hand sources (among others) for automatism, "peinturc-poesie" and surrealist collages. Rene Magritte, who collaborated on the final issue of 391, may have drawn upon Picabia's simplified figural style of 1922-1924 as well as that of De Chirico. R. J., "Chez Francis Picabia," Paris-Journal,

May

between two acts of Reldche. Both film and ballet abound with slapstick comedy, reversal of the expected, irreverence for the sanctified, pointed insult of both audience and author and a celebration of uninhibited life. 73

9, 1924, p. 5.

See also 39J, nos. 16-19 ar>d Michel Sanouillet, Francis Picabia ct

391, vol.11, pp.

Paris,

153-70.

Francis Picabia, "Premiere

November

heme," Le Mouvement

Accelere,

1924, p.i.

Francis Picabia, statement in the

program for

[Performance Suspended], scheduled for

Reldche. Reldche

November 27,

ly. Entr'acte

1928, p.248.

1924,

up to its title when the last-minute illness of the principal male dancer delayed the opening to December 4. Soon the title was even more appropriate for, after a short run, Reldche and Rolf de Mare's Swedish Ballet closed permanent-

lived

("intermission") literally served as an intermission

For documentation on Toothpicks, see the notes for Plumes and Toothpicks (nos. 82 and 84). The first known record of correspondence of El Lissitzky (El Lissitzky and Mary Whittall, El Eissitzky, Greenwich, Connecticut, 1968, p. 76). It is referred to as a portrait of Poincare which Lissitzky chose for exhibit in the room he designed at the International Art Exhibition in Dresden, 1926. It next appeared (with the title Portrait) at an exhibition of "recent" paintings by Pica bia at the Galcrie Van Leer, Paris, October 24November 5, 1927, and was reproduced in its original form in Artwork, London, vol. Ill, no. 12, January-March

Portrait occurs in the

Portrait lost its Pierre

hands,

comb and

Legrain frame and acquired a

title

sometime

after 1938

when

new it

face,

was

last

reproduced in its original form (frame missing or cropped in the photograph; Buffet-Picabia, "Matieres Pla[again]

stiques,"

XXe

Sihle, Paris, vol. 1-2, 110.2,

May

1938, p. 34).

Fig. 18

Swedish

Ballet, Francis Picabia

and Erik

Satie:

Relache (Performance Suspended). 1924.

|t^^

Fig. 19

Fig. 20

Francis Picabia: Portrait, c.1925.

Oil,

Tlie Beautiful

combs, cord, tape, toothpicks, curtain rings and pens

on canvas. Frame by Collection E.

The

Francis Picabia

Pierre Legrain.

Power, Esq., London, revised

Beautiful Pork Butcher.

Oil, as

Pork Butcher (Le beau charcutier).

c.1925, revised c.1938-48.

combs, cord, tape, toothpicks, curtain rings and pens

on canvas, 36

Collection E.

x 29"

(92

73.6 cm.).

Power, Esq., London.

As interesting

Butcher).

as these

assemblages arc -in them-

assemblages by the Surrealists, 75 and

selves, in relation to

evidence of Picabia's persistent "Dada" temperament

- they represent

secondary current in a phase domi-

nated by the ubiquitous Spanish subjects and curiously

deformed

which the period

figures for

(c.

1923-28) has

been named the "Monsters."

The

variety of the monsters precludes a simple de-

scription,

though

all

of them arc deliberately distorted

form, and are often of either popular or traditional subject matter -

young women with

parasols,

embracing

couples, family groups, reclining nudes and the like.

While

delicate, restrained color

harmonies are not in-

frequent, the jolting colors and succulent ripolin paint of

Woman

with Monocle (no. 86) are more typical of the peThe enormous lozenge eye of this woman is also

riod.

representative of the stylized features and shorthand

abound

that

tifs

such

as Sibyl (no. 87) and, especially,

(fig.

21).

The sinuous

hatching of the still

life

Picabia

mo-

most paintings, contemporary to

latter

curves, dots, zigzags and cross-

were partly derived from

paintings of

drew from old

it,

The Three Graces

Picasso's

1922-26, but for his figures,

masters, Michelangelo and Diirer

in particular. 76 His intention in using Renaissance sour-

ces

unknown, though on

no reverence

the surface

common

traditional values

1920s.

Following renewed

visits to

of Catalan Romanesque frescoes in his

seems to

reflect

for either those sources or the return to

French

art

of the

Barcelona, fragments

also

work - sometimes brushed

appear frequently

directly over earlier

paintings of the monster period (no. 90;

figs.

22 and

The superimposition of transparent images in these paintings and in some of the amorous couples (no. 89)

23).

leads directly into a second figurative period, the "Trans-

parencies" of 1928 to about 1932. Significant changes in Picabia's personal affairs and

patterns of living transparencies. Fig. 21

accompanied the development of the

Olga Mohler,

young Swiss

hired to

Francis Picabia:

The Three Graces, c.1924-27.

Oil on canvas, dimensions unknown. Collection

The

Surrealists' interest in collage

and assemblage during the

sprang from various sources, including Picabia's work. His limited but continuous production in late io2os-early 1930s

unknown.

that media since 1919 was known by them, especially Joan Miro, an admirer of Picabia since 1917, whose esteem may be of 1928.

reflected in his Spanish Dancer collages

See notes for Sibyl (no. 87) regarding Michelangelo sources. Figures from Diirer arc used in La Femtne an chien (Private collection,

Art,

New

London) and Le Globe (Metropolitan

Museum of

York).

Picabia's use

by Georges

of Catalan Romanesque frescoes was

first

Isarlov (Picabia Peintre, Paris, 1929, p. 14).

noted These

symbols and highly stylized motifs for wawhich may have been the source work of both Picasso and Picabia. Astrological symbols - some of them identical with Romannesque motives - may have been still another source. frescoes contain ter, stars,

clouds, and thclikc

for similar motives in the

Fig. 22

Francis Picabia: Barcelona. 1924

Fig. 23

and c.1927?

Oil on cardboard, 41 x 29 1 jt" (94 Seattle

Apocalyptic Lamb. 12th century. Fresco, San

75 cm.).

Art Museum, Eugene Fuller Memorial Collection.

Clemente de Tahull,

of Catalan Art, Barcelona.

installed in the

Museum

,,-^p-. V99

Ills

V* 'xHl ^'"K^^Hr

Fig.

Francis Picabia:

Fig. 25

^LIjM^ -y\

Botticelli:

Man

Atrata. c.1929.

Portrait of a

Oil on wood, dimensions unknown.

Uffizi Gallery, Florence.

Collection

The

unknown; formerly Leonce Rosenberg.

face in the

upper center of Atrata and the hands whose

thumbs touch near the center of the painting

Fig. 26

with a Medal,

a Botticelli portrait (Fig. 25).

a faint

Underneath these forms

image of Atlas based on an antique

Museo Nazionale, Naples

(Fig. 26).

statue in the

1473-74.

Nineteenth-century drawing after anonymous Sculptor:

are adapted Atlas.

from

Museo Nazionale,

Naples.

Roman

serve as governess for the children, gradually displaced

Germaine Everting

in Picabia's affection. 78

Ensuing com-

harm

his status as a

plications in his private life did not

personality in Cannes. Night clubs and the Casino counted

on him

themes and decor for

to provide

and Picabia's

own

exhibition openings

the social season.

and

work prompted

frequent exhibitions in Paris also

led to regular visits to the capital, his

their galas,

became events

and the ready

sale

of new automobiles, yachts

a rash

pets. 75

few

Picabia exhibited a 1928, although the

first

transparencies in the

fall

major exhibitions occurred in

1929 and led directly to a contract with the dealer most

by Picabia during the Dada epoch, Leonce RosenThe transparencies are complex paintings with

reviled

berg.

multiple layers of faces, figures, hands, birds and foliage.

The images

and there opaque,

are here transparent

dis-

parate in scale and orientation, charged with mysterious relationships

or private symbolism and fraught with

ambiguities of

form and space

similar to those in multi-

ple film exposures. 80 Despite such complexities,

the early transparencies are

imbued with

most of

a serene

mel-

ancholy conveyed by cool color harmonies, ephemeral forms, fluid pigment and, above zing figures. Indeed, titles

as Apollo,

1930, (figs.

all,

ideal, classici-

the paintings bear such

Hera, Artemis and Medea, and Picabia

drew heavily on Italian art

many of

from

visual sources

Classical art

and

of the Renaissance and Baroque epochs. Until

Botticelli

was

his

primary Renaissance source

24 and 25); during 1930-31 Piero della Francesca

became

his

favored model

(figs.

27 and

28).

Occasionally

name of a Greek god or goddess appear related to the myth of that god. More often Picabia transformed the myth to his own ends the images of a transparency bearing the

or did his

own myth-making - and his choice of Classical

and Renaissance models seems

Mme. Olga

Picabia's

have had no relevance

book, Un Quart de

Siecle avec Picabia

(soon to be published), and a scrapbook in her possession are primary sources of information on Picabia's life and art after 1925.

Picabia preferred tiny pets - birds and chihuahuas -but adored

Fig.

powerful automobiles. By Olga Picabia's count, he owned over a hundred in his lifetime including everything from Fords and Peugeots to a Mercer, a Graham Paige and a Rolls Royce. Between 1929-1939 he also owned several yachts, the sleekest of which was "L'Horizon," a seventy-foot motor

Francis Picabia:

Heads and Landscape, c.1930. Oil on canvas, 23

Formerly collection Fig. 28

" (60

Mme. Simone

yacht.

81 cm.).

Collinet, Paris.

Piero dclla Francesca: Detail

from The Queen ofSheba Worshiping

the Cross, c.1455.

Fresco, S. Francesco, Arezzo.

the

Wood

Gaston Ravel ("Exposition de Peinture," attrib. to La Critique Cinimatographique, Paris, October 29, 1929) first noted the possible influence of films in Picabia's transparencies. Picabia's own film, Entr'acte, is one probable source, though many modern artists from the 1880s onward had been concerned in various ways with the basic ingredients of the transparencies - synthesis and simultaneity.

beyond the

fact that their visual properties

embodied

the

wished to convey.

particular sentiment he

The mysterious, hermetic properties of the transparsome critics to view them as occult visions or dream images related to Surrealism. Picabia, however,

encies caused

have anything to do with the Surmovement. 81 Moreover, his statements and delibuse of visual sources from the past disassociate his

steadfastly refused to realist

erate

transparencies

from

pure psychic automatism. As

were intensely personal:

usual, his paintings .

these transparencies with their corner to

sires

with dreams,

Surrealist preoccupation

visions, hallucinations or

of oubliettes permit

express for myself the resemblance of my interior de-

...I want a painting where

all

instincts

may have

free course.' 2

At no time

in his career

painting for himself.

enough

in themselves,

titles like

was Picabia more

Most of

successful in

the paintings, mysterious

were further cloaked by invented

Lnsainia (no. 92), and since he explained nothing,

once again even his intentions.

seem not to have known

his closest friends

At times the mixture of absolute hermeti-

cism and a compelling presence of private symbolism creates

frustration than fascination; in other

heavy-handed borrowing from past

his

of technical

But

finesse detract

art

from the unity of the

in the best transparencies Picabia

works

and disdain painting.

achieved a miracu-

lous fusion of suggestive symbolism, impenetrable

mys-

tery and poignant visual experiences.

During the course of the cies

became darker

early 1930s, the transparen-

with fewer figures that

in tonality,

tended to be more opaque, more stylized and often rather

awkwardly drawn. By 1933

were being supplanted by Gertrude Stein,

these late transparencies

simplified, naturalistic images.

a close friend

during the 1930's, docu-

mented the continuity of some of baggage, which was

image

heavy

Francis Picabia: Portrait

/Âť

2 3 '/<"

struggling with the problem

that this vibration should be the result (

IJ 6

60.

4 cm.).

Gertrude Stein Collection, Collection of American Literature,

hare the vibration of a musical sound and

that a line should

of Gertrude Stein. 1933.

Oil on canvas, 45

earthen-hued

in her portrait (fig. 29):

Picabia has conceived and Fig. 29

Picabia's theoretical

as the solid,

human form and human would induce such

face in so

of conceiving

the

tenuous a fashion that

vibration in the line forming

it.

It is his

Yale University Library.

way of achieving

the disembodied

was briefly relaxed in 1929 when he was by Paul Eluard and submitted four poems to one issue

Picabia's aloofness visited

of La Revolution

Surrialiste (no. 12,

December

15, 1929, pp.

4.8-9).

Francis Picabia, preface to Galcric Leonce Rosenberg, Exposition Francis Picabia, Paris,

December 9-31,

1930.

Gertrude Stein, Autobiography of Alice B. Toklas, New York, 1933. p. 258. Miss Stein, Miss Toklas and the Picabias visited regularly in Cannes and Bchgnins from 1932 to 1939.

In this

same

Picabia was

year,

made

He still remained a not painting

the brink of a slough in his career,

Knight of the Legion of Honor.

maverick, painting what he wanted or

at all if that

was

and there was no dominant

inferior it.

but for the remain-

his wish,

work was

der of the decade the quality of his

generally

style or direction in

Heavy-handed naturalism vied with superimpositions

(fig. 30),

with primitivizing scenes of fourteenth-century

Italian inspiration

and a revival of fauve-like landscapes

sometimes mistaken for

Only

his

work of 1909-n. 84

the surprising abstract compositions

(nos. 96 and 1939 suggest contact with more vital currents of the 1930s. 85 Picabia was aware of all the

and 97)

in 1937

he and Olga dwelt in Paris

trends, for

year, but

much

biles, little pets, ries.

Life

a portion

of each

new automo-

preferred old friends,

night clubs and girlie shows to art galle-

on board

his

yacht in the harbors of Cannes and

Golfe Juan was even more leisurely until the exigencies of

World War fine autos

trimmed

his style

living. After

1939

and the yacht were replaced by bicycles and time in his

small apartment, and, for the

first

Olga (now

some extent on

his wife) relied to

life,

he and

the sale of

paintings.

Throughout the war these paintings were characterized

by what might be realism, that

is,

called

"commercial" or "popular"

brand seemingly derived from rather

vulgar pulp magazine illustrations, picture post cards, night club advertisements and the like

(fig.

31).

per-

Dada syndrome in Picabia criticism lies behind the inclination of some critics to see this work as a precursor of Pop Art or as a parody-protest of conventional

sistent

There

realism.

no evidence to support the

was simply painting

Picabia

his interests in a realist style related to

for a decade.

latter

view;

subjects that frankly reflect

And, according

Olga

much of his work

Picabia, he enjoyed

painting them. His delight in these paintings and their direct influence

make

on some

reference to

that

with Pop Art relevant -

artists associated

movement more

though, here, too, Picabia's unself-conscious indulgence Fig. 30

Superimposition young Collection

girl

and madonna,

1935.

sets

unknown.

him

apart. 80

Picabia's long residence in the ress

Midi ended under du-

toward the end of the war. As

complications existed in his private 84

Some of

usual, bitter-sweet

affairs,

these fauve-like landscapes

but

his

were exhibited

Galerie de Beaune, Exposition Picabia, Paris,

major at

the

November 4-17,

I93S. 85

In 1937 Picabia joined Arp, Duchamp, Delaunay, Kandinsky and others in signing the Manifesto of Dimensionism publis-

hed 86

in Plastique, Paris, no. 2,

summer

1937, pp.25-8.

Copley and Enrico Baj - both collectors of Picabia's work - have been interested in this as well as other periods in his career. Robert Rauschenberg, Jasper Johns and Jim Dine have also expressed interest in Picabia's work, but there are few signs of his influence on hard core Pop artists. Bill

from

troubles issued

the life-long inability of an indul-

99)

central forms are vaguely reminiscent

repeatedly did and said things without realizing their

potential offense to either the French or the

Germans, and

he offended them both.

pated after Picabia's permanent return to Paris in 1945.

and Olga

settled in

an apartment-studio atop the old fam-

home, and soon

ily

who

was crowded with old and new

him on jaunts to his favorite night and cinemas or on nostalgic weekend visits to the

friends

clubs

joined

Paume.

Impressionist galleries in thejeu de

new

tenor of

life

in victorious

completely

post-war Paris and

Picabia's

own

work,

poetry and abstract painting once again domi-

situation -

paintings to his

work

uneven, but at

was quickly expressed

The

nated his production.

in his

quality of these late abstract

they are comparable

at their best

any time, and,

like the

work of artists

bles-

sed with a strong late style, they possess a spiritual dimen-

some of the more popular

sion wanting in

tings

Picabia

helped

by introducing him

new forums

as the

much

anyone to rejuvenate

young

artists active at

Salon des Surindependants and the

Salon des Realites Nouvelles. Soulages, Atlan,

Camille Brycn

among

Ubac and

others began to visit Picabia, and

he contributed to those newer salons. While in

miss a familiar statements.

lic

war,

after the

his

new

wave of abstraction which

painting he participated in the

swept Paris

such

a sensitive spectator will

spirit in Picabia's painting,

He commented

not

poetry and pub-

abstract paintings of the 191 3-14 Udnie series,

Do You Want

each painting

for

a precise interior state

and

a drama, passing through all the

of my preceding production

stages

further

...

order to continue

touch at the end this fugitive hut ecstatic instant

where I know that I hold

tlte

unseizable which

is reality. 8S

late abstractions are

imbued with

mysterious reflections of earlier paintings. The Sun Painting (no. 98)

work of 1939

was

his wife, Christine

moods and Colline,

"Un

Though

le desert (Paris,

his

tions,

publications include Thalassa Parisots'

Choix

Poimes de

itself.

And

like so

many of

ominous form dominating Kaliu-

it is

incites efforts to identify

it.

not abstract; though intense-

of any

it is

open

to the

sensitive viewer.

their

climax in 1949. 8 "

the order of Udnie and Ld-

way

to great public collec-

and Rene Drouin, proprietor of one of the leading

avant-garde galleries in Paris, gave Picabia a magnificent

one-man show. 90 Shortly before tion, Picabia

as a

dots.

fully himself again.

theft

ofjewelry which

source of revenue in his old age.

was temporarily consoled by the

triumphant exhibi-

this

was devastated by the

he counted on

efforts

of loyal friends

who encouraged a series of paint-

But

was never

essentially Picabia

He was

old,

ill,

and

relatively poor,

indisposed to follow any doctor's prescription that did

not provide generously for cigarettes and whisky. stroke in 195 1 terminated one of his last remaining

life-

long pleasures, painting - leaving him to cope with a denied the

For Picabia, desires

activities

who

which had made

had trusted

of the moment, and is

as real

who had

only dissolution," these

finally death itself,

were

grim

meaningful.

only the needs and said last

as the

"Death doesn't

two

years,

and

brooding image

and the numerous works printed by Pierre Andre Benoit beginning in 1949. Between 1946Picabia's paintings were chiefly handled by the Galerie 1949 Colette Allcndy and the Galerie des Deux-Iles. After 1950 this role was assumed by the Rose Fried Gallery in New York and, particularly, by Madame Simone Collinet's galleries in Paris. Since i960 the Galleria Schwarz in Milan has gradually become the major dealer of Picabia's work. Francis Picabia (Paris, 1947),

1945, p. 50.

Henri

his

into a prickly texture

and interviews mounted to

began to make

taonisl

and drawings to Henri Goctz Boumeester, provide insight to his time (Collection M. et Mine.

own

evoke death

In that year masterpieces

of Kalinga.

1945),

Bal

It.

Exhibitions of his work, publication of his poetry, articles

Entretien avec Francis Picabia," Journal des

most important of

Sell

even repul-

a disquieting,

ly personal and mysteriously entitled,

Around 194X-1950 Michel Tapie, Jean Cassou, Michel Seuphor and Bernard Dorival published articles on Picabia. The dans

unidentifiable,

the super-imposition of a sun

November

It is

worked

ga simultaneously defies and

interests at this

Arts, Zurich, 110.3,

surface

Picabia's paintings, the

Goetz, Paris). 88

its

which seems

Picabia's unpublished letters

and

Like Pretty

with somber colors of an indescribable Iberian dryness

exist, there

(no. 97) or actually

painting transformed

titles as I

Laugh and You'll Never

with the other pole of life. sive object;

by his abstract composed of a 1939

either suggested

with such

and Picabia

favorite night club; Kaliuga (no. 100), a confrontation

life

Again and again the

spirit to

(1948, title

Negre (no. 101) was a contemporary celebration of

ings based that which I wish to express

"Dada"

exercised his Girls.

homed

lamb of the apocalypse. She Dances

and by Michel Seuphor

to one critic in 1945:

of "monster" pain-

the late 1920s bearing images of the

Grandini collection, Milan) refers in form and

A young artist couple whom he had befriended in Cannes, the Goetzes, 87

from

sensual-spiritual response

periods.

(no.

an ominous, emotion-charged composition whose

beast or the

depression of the final months in Cannes dissi-

The

Dove of Peace

spot and a resonant film of color. The

gent individualist to comprehend war and nationalism.

Galerie 1949-

Rene Drouin,

49 1, 50 ans de plaisir, Paris,

March

4-26,

Fig. 3i

Francis Picabia:

Woman

and Bulldog, c.1941-42.

Oil on canvas Collection

(?),

dimensions unknown.

unknown.

FoilClS

lCclDlS

The following catalogue complete.

New

titles,

entries are extensive but not

dates

and interpretations are defended.

The provenance of each item edge permits. Exhibition exhibitions and

Some minor tions have

all

complete

as present

histories include all

known

knowlearly

subsequent exhibitions of consequence.

exhibitions and the route of circulating exhibi-

been excluded. References under "Literature" are

limited to those bearing significant information, not merely a passing reference or reproduction. Abbreviated titles

arc

employed

references.

for both the exhibitions

Complete

references for each entry

in the bibliography. Asterisks (*) indicate

names and

and the

may

literary

be found

works shown

only in the circulating exhibition; daggers (f) indicate

works exhibited only

the

Guggenheim Museum.

The Roofs of Paris.

(Les Toits de Paris). 1900

Oil on canvas, 11 x 16 '/s" (28 x 41 cm.)

Signed and dated

l.r.

"Francis Picabia/1900"

Private collection, Paris

Provenance:

Hotel Drouot, Paris Exhibitions:

Galerie

Mona

Lisa, Picabia, Paris,

November-December

1961,

no. 1

Musee no.

Cantini, Picabia, Marseille,

March 20-May

15, 1962,

Spanish Lady. (Espagnole). 1902 Watcrcolor, pencil and ink, 23 x 17" (58.5 x 43 cm.)

Signed and dated "F. Picabia 1902" Collection Mrs. William Sawyer, Buffalo Provenance:

Paul Bianchini Gallery, Exhibitions:

New

York

Sunrise in the Mist, Soleil

dans

Montigny

(Lever de

brume, Montigny). c.1905

Oil on canvas, 28^/4 x 36 // (73 x 92 cm.) 1

Signed

1.1.

"Picabia 1905"

Collection Rene Cavalero, Marseille Provenance: Galerie L. Blanc, Aix-en-Provence Exhibitions:

Galerie

Haussmann,

Picabia, Paris,

February Iâ&#x20AC;&#x201D; 15, 1907,

no.46

Hotel Drouot, Picabia

Sale, Paris,

March

1909, 110.16

t 4

Notre Dame. Effect of Sunlight. (Notre Dame. Effct dc Soleil). 1906 Oil on canvas, 29'/ 8 x 36'/ 4" (74.O x 93.4 cm.)

Signed and dated

From

1.1.

"Picabia 1906"

the collection of the Honorable

David Montagu,

London Provenance:

Unknown Exhibitions:

Galcric

Haussmann,

Picabia, Paris,

February 1-15, 1907,

no. 19

Hotel Drouot,

Paris,

May

31, 1926, no.

Pi ne Trees, Effect or Sunlight at Saint-Honorat.

(Les Pins, effet de solcil a Saint-Honorat). 1906 Oil on canvas, 86'/a x 118" (220 x 300 cm.) Private Collection, in care of Galerie Lorenceau, Paris

Provenance: Galerie Lorenceau, Paris .

M. and Mine. Daher,

Paris

Exhibitions:

Societe des Artistes Francais, Salon de 1906, Paris, no. 1323 Galerie

no. 67

Haussmann,

Picabia, Paris,

February 1-15, 1907,

t 6

Chestnut Trees. (Les Chataigniers). 1907

View of Saint-Tropez from

Oil on canvas, 26 3 / 4 x iS'/i" (68 x 90 cm., frame window)

(Saint-Tropez vu de

Signed and dated

Oil on canvas, 28 3 /s x 35 3 /<"

From

1.1.

"Picabia 1907"

the collection of the Honorable

David Montagu,

London

Signed and dated

u.r.

the Citadel.

la Citadelle). (7 2

1909

x 9 1 cm., frame window)

"Picabia 1909"

Collection Luciennc Radisse, Paris

Provenance: Provenance:

Unknown

Hotel Drouot, Paris

Exhibitions:

The Matthiesen Gallery, November, 1959, 110.8

Picabia,

London, October-

Probably Galeries Georges

Petit, Picabia, Paris,

March

17-31,

1909 Galerie de Paris, Les

June t 7

The Church (L'Eglise de

Montigny, Effect ot Sunlight.

Montigny,

effet

soleil).

1908

Amis

Inscribed eifet

l.r.

/ s

(100

x 81 cm.)

"Picabia"; on reverse "L'Eglise de

de Soleil 1908

Montigny

F. Picabia"

Lent by Hilde Gerst Gallery,

New

York

Provenance: Private Collection, France Exhibitions:

Galerics Georges Petit, Picabia, Paris,

March

17-31, 1909,

110.13

This painting sizes a

at a

turning point in Picabia's career synthe-

lingering Impressionist quality of light with

Impressionist (or Divisionist)

Fauve

color.

Neo-

brushwork and suggestions of

May

10, 1961, no. 8

This painting was probably exhibited Petit in

March

at the Galeries

Georges

1909, but cannot be positively identified in

Its brick-like brush strokes and Mediterranean site suggest the specific influence of Paul Signac, although personal touches are evident in a lingering quality of Impressionist light and in the relentless application of vertical and horizontal brush strokes.

the exhibition catalogue.

Oil on canvas, 39 3 /s x

de Saint-Tropez, Paris,

FiÂŤ&fa4&ft&ÂŁft

Portrait ot Mistinguctt. 1907 Oil on canvas, 24 x i9 5 /s" (61 x 49.8 cm.)

Signed and dated Collection

"Francis Picabia 1907"

I.e.

The Solomon

Guggenheim Museum, New-

York Provenance:

Pierre Granville, Paris

Exhibitions:

The Solomon R. Guggenheim Museum, Gauguin and Decorative Style,

New

York, June 23-October

Guggenheim Museum, Seven October

Decades,

New

23,

the

1966

York, June 28-

1967

Throughout

of friends included of Maurice Chevalier, was portrayed by him in this delicate, unexpected work whose simplified forms and flat, unmodelled color planes reflect the general influence of Fauvism, Symbolism and "Japonismc."

prominent

Picabia's

life,

his circle

entertainers. Mistinguctt, early partner

Woman

with Mimosas. (La

Femme

Mimosa). 1908 Oil

canvas, 45 5 /s

011

Signed and dated

x 35" (116 x 89 cm.)

u.r.

"Picabia 1908"

Lent by Galleries Maurice Sternberg, Chicago Provenance: Galerie

Mona

Lisa, Paris

Exhibitions:

Probably Galcries Georges

Petit, Picabia, Paris,

March

17-31,

1909, no. 22

Grand

Palais, Societe des Artistes Independants, Retrospective

lgo^-iaog, Paris,

This

March 22-April

15, 1968, 110.85

is Picabia's first full-fledged essay in the style of Fauvism, and in it he portrayed a woman who encouraged embrace of more truly modern art - his future wife,

his

Gabrielle Buffet.

The Port of Saint-Tropez. Oil on canvas, 28 3 / 4 x 23

Signed and dated

u.l.

/s" (73

1909.

x 60 cm.)

"Picabia 1909"

Private collection, Paris

Provenance: Palais Galliera, Paris

M. Arniand

Charles, Paris

Exhibitions:

Probably Galeries Georges

Petit, Picabia, Paris,

March

17-31,

May

2-June

1909 Galerie dc Paris, Les Amis de Saint-Tropez, Paris, 10, 1961, no. 77

Musee no.

Cantini, Picabia, Marseille,

March 20-May

15,

1962,

"tew

of Saint-Tropez from the Citadel (no. 8),

this

painting

was probably done during Picabia's honeymoon in SaintTropez and exhibited in March 1909 at the Galeries Georges Petit.

Landscape. (Paysage). 1909 Oil on canvas, 27^4

Signed and dated Collection Alex

x 34 7 /s"

u.r.

(69

88.5 cm.)

"Picabia 1909"

Maguy, Galerie de

Provenance:

M. Simon

Bilew, Rueil-Malmaison

Mme. Simone

Collinet, Paris

l'Elysee, Paris

Path. (L' Alice). 1909 Pastel,

y/s x 9'/:"

Signed and dated Collection

(18

l.r.

1 14

Signed

"Picabia 1909"

Andre Napier, Neuilly

Mona

l.r.

at Cassis.

(Paysage

a Cassis), c. -5

1909

cm.)

"Picabia"

Collection

Mr. and Mrs. Neil

Reisncr, Scarsdale

Provenance:

Galerie

Landscape

Oil on canvas, i9'/8 x 2 A'I'" (S째-5 x OI

x 24 cm.)

Restricted

Lisa, Paris

Exhibitions:

Despite the greater abstraction of this landscape Galerie

Mona

Lisa, Picabia, Paris,

November-December,

Musee

Cantini, Picabia, Marseille,

March 20-May

(first

Guillaume Apollinaire's Les Peintres Cubistes, Paris, 1913), its muted, harmonious colors are descriptive and its highly simplified forms suggest a specific site. reproduced

1961, 110.7 15, 1962,

110.9

Hatton Gallery and

Institute ot

London, March-April 1964,

Contemporary

110.5

Arts, Picabia,

Abstract Landscape. (Paysage abstrait). 1909 Crayon,

9^/4

X I2 3 /s" (24-7 X31.J cm.)

Signed and dated Collection

1.1.

"Francis Picabia 1909"

Musee National d'Art Moderne,

Provenance:

Galerie Furstenberg, Paris Exhibitions:

University of Mexico,

November

iCfVfr*t짜.~.y4t>4

1962

Paris

•c~

The Torrent.

(Le Torrent), c.1909-1911

Oil on canvas, 29 x 36 3 / 8 " (73.5 x 92.5 cm.)

Signed

l.r.

"'Picabia'*

Collection Simonc Collinet, Paris Provenance:

Hotel Drouot, Paris Exhibitions:

Probably Hotel Drouot,

Museum 2,

May

31, 1926, 110.97

Morsbroich Levcrkuscn,

1967, 110.3

Picabia,

February 7-April

The

Dolls. (Les Poupees). c.1911

Oil on canvas, 20 x 29" (51 x 72.5 cm.)

Signed

"F. Picabia"

l.r.

Collection Mr. and Mrs. Arnold Saltzman, Great Neck,

New

York Provenance: Sotheby's,

London

The joyous colors and nursery-room theme of this painting suggest a work done for the Picabias' children. Three children were born early in their marriage - Marie in 1910,

Gabriel (Pancho) in 1911 and Cecile (Jeannine) in 1913. A fourth child, Vicente, was born to Gabrielle Buffet in 1919.

Regattas. (Les Regates). 1911 Oil on canvas, 28 3 /s x 36 '/Âť" (7- x 9 2

Signed and dated

l.r.

"Picabia 1911"

Collection Jacques Tronchc, Paris Provenance:

Henry Daher,

Paris

Exhibitions:

Musee

Cantini, Picabia, Marseille,

March 20-May

15, 1962,

no. 1

Hatton Gallery and Institute of Contemporary Art, London, March-April 1964, 110.7

Picabia,

Adam

Galerie

and Eve. 191

Mona

Lisa, Picabia, Paris,

November-December

1961,

no. 1

Oil on canvas, 39 3 /s

Signed and dated Collection

/ s

(100

u.c. "Picabia 191

Simone

81 cm.)

Musee

March 20-May

15, 1962,

Hatton Gallery and Institute of Contemporary Art, London, March-April 1964, 110.6

Collinet, Paris

Provenance:

Museum Morsbroich

Galerie Berri, Paris

M. Kleinman,

Cantini, Picabia, Marseille,

no. 16 Picabia,

Levcrkusen, Picabia, February 7-

April2, 1967, no.

Paris

Exhibitions:

Probably La Societe Normande de Peinture Moderne, Rouen, May 191 1, no. 88 Galerie Furstenberg, Picabia, Paris, June 5-July

Matthiesen Gallery, Picabia, 1959, no.15

1956, 110.3

London, October-November

The landscape background - though more schematic than the figures - seems to have been based 011 a Italy,

and was employed

Picabia (110.20).

in other

site in

Grimaldi,

contemporary paintings by

The Red

Early reproductions (Guillaume Apollinaire, Les Peintres

Tree. (L'Arbre rouge), c.1912

and the Nebraska State Journal, Lincoln, were several versions of this landscape, one of which was entitled Grimaldi After Rain. All are slightly different in style but based on the same site that appears as the background in Adam and Eve (no. 19). The moderately faceted forms and rich orange and brown colors of The Red Tree suggest a date between Picabia's Fauve canvases ot 191 1 and his cubist paintings of mid-1912 Cubistes, Paris, 1913,

Oil on canvas, 36'/4 x 28 3 / 4 " (92 x 73 cm.)

Signed

l.r.

Collection

February

"Picabia"

Simone

Collinet, Paris

Provenance:

Mine. Guillaume Apollinaire, Paris Guillaume Apollinaire, Paris

(no. 22).

Exhibitions:

Galerie Furstcnberg, Picabia, Paris, 5,

November 4-December

1964, no.9

Houston Museum of Fine Arts, The Heroic 20-December 8, 1965, no. 75

Museum 2,

Morsbroich Leverkusen,

1967, no.9

Picabia,

Years,

October

February 7-April

1913, B7) indicate there

Landscape, La Creuse. (Paysage de

Creuse).

Literature:

Buffet-Picabia, Aires abstraites, Geneva, 1957, pp.26-27

c.1912

Rubin, Dada and

Surrealist Art,

New York,

1969, p. 44

Oil on canvas, 29 x 36'/2" (73-5 x 92.5 cm.)

Signed

l.r.

"Picabia"

but

Collection Mrs. Barnett Malbin, Birmingham, Michigan

(The Lydia and Harry Lewis Winston Collection) Provenance:

Rose Fried Gallery,

Mme.

New York

Buffet-Picabia, Paris

Rene Drouin,

Rose Fried Gallery,

491, Paris,

Picabia,

March

1949, no.7

New York,

February 1950, no.i

Rose Fried Gallery, Duchamp and Picabia,

December

1953-January

could not have been painted before 1909 and

more compatible

New York,

1954, no.i

University of Michigan, Winston Collection, 1955. no.50

Ann

Arbor,

Detroit Institute of Art, The Collection of Mr. and Mrs. Harry Lewis Winston, September 27-November 3, 1957, no.80

it is

far

with Picabia's cubist canvases of mid-1912 (no.22). It appears in the company of other canvases of c.1911-12 in several studio photographs which are attributed to "1917" (Sanouillet, Picabia, Paris, 1964, p. 31) and to "1911" corrected to read "1913" in the Picabia stylistically

scrapbook maintained by

Exhibitions:

Galerie

date of 1908 has often been attributed to this landscape,

Mme. Olga

Picabia.

t22

Dances

at the Spring.

Oil on canvas, Inscribed

l.r.

W/i

(Danses a

W/i"

Source). 1912

(120.6 x 120.6 cm.)

"Picabia 1912"; u.r. "Danses a

iS, 1949, 110.160

'alter

The Solomon

Source"

Arensberg Collection, October 20-

Louise and

December

Guggenheim Museum, The

Gallatin Collections,

New

Arensberg and

York, February 7-April

1961

16,

Lent by The Philadelphia Museum of Art, The Louise and Walter Arensberg Collection

and the Henry Street Settlement, New York, Armory Show, 50th Anniversary Exhibition, Utica, February 17-March 31, 1963 and New

Provenance:

York, April 6-2S, 1963,

Arthur J. Eddy, Chicago

Literature:

The

Claude-Roger, La Comedie

Artist

Munson-Willianis-Proctor

Institute, Utica,

110.415

Artistique, Paris,

October

1912,

pp. 62-S

Exhibitions:

Salon d'Automnc, Paris, October

Buffet-Picabia, "Picabia l'inventeur," L'Oeil, Paris, June 1956,

no.1351 or Galerie de La

P-33

Boe'tie,

i-Novembcr 8, 1912, La Section d'Or, Paris,

October 10-30, 1912, no. 128 The Armory Show, 110.415 (no.283 in

Apollinaire, Les Peintres Cubistes, Paris, 1913 (presentation

New

York, February 17-March 15, 191 3, Chicago; not exhibited in Boston)

par Breunig ct Chevalier, 1965, pp.90,

Brown, The

Art Institute of Chicago, The Arthur J. Eddy Collection, 1922,

cut, 1963, pp. 122-3, 2 75

110.55

Golding, Cubism,

Art Institute of Chicago, Painting and Sculpture,

Century of Progress, Exhibition of

June i-Novcnibcr

1933, 110.786

Art Institute of Chicago, Twentieth Century Art from

the

New

15)

Armory Show, Greenwich, Connecti-

Story of the

York, 1959, pp.161-2

Rosenblum, Cubism and Twentieth-Century

196LP.154 Rubin, Dada and

Surrealist Art,

New

Art,

New

York, 1969,

York,

p. 44

at the Spring has long been one of Picabia's most popular works - purchased out of the Armory Show by

Dances

Arthur J. Eddy and from then onward frequently cited and reproduced. Its popularity seems to stem from the fact that it is a handsome painting in itself and comprehensible as a personal but simple, accessible brand of Cubism. As suggested in the text, however (p.20), it should not be judged solely by standards of Cubism set for the work of Braque and Picasso. It is one of the most resolved paintings of this period in Picabia's career, balancing abstraction and figuration, light and dark, straight and curved lines, two and threedimensional space, and stability and motion. Picabia painted two versions of Danscs a la Source in 1912 and exhibited them simultaneously at the Salon d'Automne and the Salon de La Section d'Or. One version has been lost; this extant work was probably submitted to the Salon

d'Automne.

123

Procession Seville. (La Procession Seville). 1912 Oil on canvas, 47 '/.i x Inscribed

l.r.

(120 x 120 cm.)

47'/->"

"Picabia"; u.r. "La Procession/Seville"

Herbert and Nannettc Rothschild Collection,

New York

Provenance:

Sidney Janis Gallery,

New

York

Mine, Simone Collinet, Paris Prince Troubctzkoy, Paris

Andre Breton, Marcel the

Paris

Duchamp

artist

Exhibitions:

Galeric de La Boetie,

Section d'Or, Paris,

October 10-30,

1912, 110.124.

The Armory Slww,

New York,

February 17-March

15, 1913,

no. 416 (no. 288 in Chicago and 110.141 in Boston)

Hotel Drouot,

Duchamp

Sale, Paris,

March

1926, 110.7

Galerie Leonce Rosenberg, Picabia, Paris,

December 9-3 1,

1930,110.5

Rene Drouin,

Galerie

March

401, Paris,

1949, no. 10

Musee National d'Art Moderne, Le Cubisme, 30-April

Paris,

January

1953, 110.100

Sidney Janis Gallery,

29-November

A' Years ofjanis,

New

York. September

1958, 110.53

Munson- Williams-Proctor

Institute, Utica, and the Henry York, Armory Slum sc'f/i Anniversary Exhibition, Utica, February 17-March 31, 1963 and New York, April 6-2S, 1963, 110.416

New

Street Settlement,

Knoedler and Co.,

New

Inc, Seven Decades: i8gs-ig65,

York,

April-May 1966

Annmary Brown Memorial, Brown

Museum

University, and of Art, Rhode Island School of Design, Rothschild Providence, October 7-November 6, 1966, 110.116

Collet lion. Literature:

Pearlstein, Arts,

New

"The Symbolic Language of Francis York, January 1956,

Habasque, Cubism,

Paris, 1959,

pp.141-2

Raynal, Modern Painting, Lausanne, i960,

Brown, The

Story

of the

Picabia,"

p. 37

Armory Show, Greenwich,

Connecticut, 1963, pp. 122-3, 2 7<5

Annmary Brown Memorial, Brown

Museum

University, and of Art, Rhode Island School of Design, Rothschild

Collection,

Providence, 1966, 110.116

Will-Levaillant, "Picabia et

machine," Revue de

I'art,

Paris, 110.4, !969, p. 77

Rubin, Dada and

Surrealist Art,

Procession Seville

New

York, 1969,

p. 44

the least abstract (and only extant)

example of several canvases on this theme [Musique de and Promenade) painted during 1912. Though now one of Picabia's most popular "Cubist" paintings, it incited hostile criticism, doggerel and cartoons (The World, New York, February 17, 1913, p. 16) at the Section d'Or and the Armory Show:

procession, Procession,

Of fair I

gain

But

Seville's

a faint

still

towers

impression

several hours

of that "procession." (Maurice Morris, The Sun, New York, February 23, 1913) in rear

Sad Figure. (Figure

tristc).

Oil on canvas, 4672 x 47" (118 x Inscribed

1.1.

1912 1

19.5 cm.)

"Picabia"; u.r. "Figure tristc"

Collection Albright-Knox Art Gallery. Gift of The

H. Knox Foundation,

Seymour

Inc.

Provenance:

M. Knoedler and Co., Inc, New York M. and Mmc. Jean Crotti, Paris the

artist

Exhibitions:

Galerie de La Boctic,

Section d'Or, Paris,

October 10-30,

1912, no. 126

Galerie no.

Mona

Lisa, Picabia, Paris,

November-December

1961,

Musee

Cantini, Picabia,

March 20-May

15, 1962, 110.18

Leonard Hutton Galleries, Albert Gleizes and the Section d'Or, New York, October 28-December 5, 1964, 110.53a

Albright-Knox Art Gallery, Painters of the Buffalo, September 27-October 22, 1967,

Section d'Or, 110.38

National Gallery, Paintings from the Albright-Knox Art Gallery, Washington, D.C., May iS-July 21, 1968, p. 31

Museo Nacional de Bellas Artes, tog Works from the AlbrightKnox Art Gallery, Buenos Aires, October 23-November 30, 1969, 110.23 Literature:

Albright-Knox Art Gallery,

Painters of the Section d'Or,

Buffalo, 1967, p.48

specific association

dominant

color, blue,

made

in this

painting between

and the emotional

its

state ot "sadness."

|25

New

York. 1913

Watcrcolor and Inscribed

l.r.

gou.iclic, 2i

"Picabia 1913";

The Art

Collection

Institute

x 29 5 / s "

u.l.

(SS

75- 2

cm.)

"New York"

of Chicago, Alfred

Sticglitz

Collection Provenance:

Alfred Sticglitz Exhibitions: Little Gallery of the Photo-Secession York, March 17-April s, 1913

[291], Picabia,

New

Literature:

Hapgood, "A Advertiser,

The Globe and Commercial York, February 20, 1913, p.

Paris Painter,"

New

New York Tribune, "A Post-Cubist's Impressions of New York," March 9, 1913, part II, p.i: Picabia, "How New York Looks to Me," The New York American, March 30, 1913, magazine section, p. 11

Camera Work, New York, vol. 42-3, April-July 1913, pp. 4851. These reviews and interviews are relevant for nos. 25-29

New York.

191

" Watcrcolor on paper mounted on board, 29'/? x 21 5/ 8 (75 x 55 cm.)

Inscribed

l.r.

Collection

"Picabia"; u.r.

The Art

Institute

"New York" of Chicago, Alfred

Stieglitz

Collection Provenance:

Alfred Stieglitz Exhibitions: [291], Picabia,

New

Stieglitz Collection,

New

of the Photo-Secession York, March 17-April 5, 19 13 Little Gallery

Museum

of Modern Art, Alfred York, June 10-August 31, 1947 Literature:

See references for 110.25

f27

Negro Song

(Chanson negre). 1913

Literature:

The Watercolor, 26'/s x 22" (66.3 x 55.9 cm.) Inscribed

I.e.

"Picabia";

u.l.

Neil' York Herald,

March

"Chanson negre"

The Metropolitan Museum of Art, The Alfred

Stieglitz

Monroe, "Davidson's Sculpture Proves that Artist has Chicago Sunday Tribune, March 23, 1913, sect. 8, p. Pearlstein,

Collection, 1949

"Mr. Picabia Paints 'Coon Songs',"

iS, 1913, p. 12

Arts,

New

"The Symbolic Language of Francis

Ideas,"

Picabia,"

York, January 1956, pp.37, 39

Provenance:

LeBot,

Picabia, Paris, 1968, p. 81

Alfred Stieglitz

Rubin, Dada and Exhibitions: Little Gallery of the Photo-Secession York, March 17-April 5, 1913

Museum

[291], Picabia,

of Modern Art, Alfred Stieglitz York, June io-August3i, 1947, 110.S7

Musee no.22

Cantini, Picabia, Marseille,

Surrealist Art,

New York,

1969, p. 53

references for no.25

New

A critic (sec Collection,

March 20-May

New

The

New

York Herald above) wrote that soon

after Picabia's arrival in

New York,

friends

took him to

where "for the first time in his life he heard and saw an American Negro sing a 'Coon Song' in characteristic manner. The next day he put upon canvas his impression, making two pictures, each of which he named 'Negro Song'." Picabia also told Stieglitz that purple was the dominant hue of those paintings because it "sprang to the Frenchman's restaurant

15,

1962

consciousness

New

when he heard

York Sun,

March

1913).

the song of the darky." (Swift,

|28

Star

Dancer and Her School of Dance. (Danseuse

etoile et

Exhibitions:

of the Photo-Secession York, March 17-April 5, 1913, 110.4 Little Gallery

son ecole de dansc). 19 13

Philadelphia

Watercolor, 22 x 30" (55.9 x 76.2 cm.)

Stieglitz,

Inscribed

l.r.

"Picabia 1913";

u.l.

"Danseuse

etoile et son ccolc

de danse"

The Metropolitan Museum of Art, The Alfred Collection, 1949

Museum

New-

of Art, History of an American, Alfred

March 1944-January

The Museum of Modern

New York, June

[291], Picabia,

1947, 110.106

Art, Alfred Stieglitz Collection,

10-August

31, 1947, no. 88

Stieglitz Literature:

Buffet-Picabia, "'Picabia Finventeur," L'Oeil, Paris, June 1956,

Provenance:

Alfred Stieglitz

P-35 references for no.25

Star

Dancer on

etoile sur

a Transatlantic Liner.

(Danscusc

Exhibitions:

of the Photo-Secession York, March 17-April 5, 1913, 110.3 Little Gallery

un Transatlantiquc). 1913

Galerie Furstenberg, Picabia, Paris,

Watercolor, 29'/; x 21 7s" (75 x 55 cm.)

[291], Picabia,

New

November 4-Deccmber

1964, 110.10

"Picabia 191 3"; transatlantiquc" Inscribed

l.r.

"Danscusc

u.r.

etoile sur

Museum Morsbroich

Leverkusen, Picabia, February 7-April

2, 1967, 110.13

Collection

Simonc

Collinet, Paris Literature:

Provenance:

Mme.

Guillaume

Will-Levaillant, "Picabia ct

Apollmairc, Paris

Guill.uimc Apollinaire, Paris

no. 4, 1969, p.7S references for 110.25

machine," Revue de

I'art,

Paris,

^30

Reverences. (Reverences),

191

Watercolor on composition board, 291/2 x 21

"/a"

(75

54.5

cm.) Inscribed

I.r.

"Picabia";

"Reverences"

u.l.

Private Collection, Le Vesinet, France

Provenance: Galerie Jeanne Biicher, Paris Exhibitions:

Kunsthalle Bern, Picabia, July 7-September 2, 1962, no. Hatton Gallery and the Institute of Contemporary Arts, Picabia,

London, March-April 1964,

In past writings, this

work

110.10

has sometimes been confused

with the painting of 1915 entitled Reverence

(no. 45).

1"3 1

Udnie (Young America (Udnie (jeune

Oil on canvas, Il8'/s Inscribed

1.1.

Collection

Girl; Dance).

americaine; danse)). 19 13

fille

ilS'/s" (300

x 300 cm.)

"Udnie"

"Picabia 1913"; u.c.

Musee National d'Art Modernc,

Paris

Provenance:

The

artist

Exhibitions:

Salon d'Automne, Paris,

November

15,

1913-January

1914, 110.1676

Musee National d'Art Modernc,

Painting in France igoo-1967,

museums: National Gallery, Washington, D.C.; Metropolitan Museum of Art, New York; Boston Museum of Fine Arts; Art Institute of Chicago; De Young Museum, San Francisco) [110.31, 1968]

Paris, no. 3 1, 1968 (participating

Literature:

Le Matin,

Paris,

December

1913, p.i

Dorival, "Les Nouvelles Artistiques," Les Nouvelles Paris,

May 20,

1948

Litteraires,

(attrib.)

Buffet-Picabia, "Picabia l'inventeur," L'Oeil, Paris, June 1956, P-35

Habasque, Cubism, Paris 1959, pp. 142-3

Hunt, "The Picabia/Breton Axis," Artforum, September 1966, p. 17

Camfield, "The Machinist Style of Francis Picabia," The Art Bulletin,

New

York, September-December, 1966,

Will-Levaillant, "Picabia et

machine," Revue de

p. 3 13 I'art,

Paris, no.4, 1969, p. 77

Rubin, Dada and

Surrealist Art,

New York,

1969, pp.44, 53

Udnie (Young American Girl; Dance) and Edtaonisl cal)

provoked

hostile criticism

these complete

titles at

when

first

(Ecclesiasti-

exhibited under

the 1913 Salon d'Automne. Apolli-

was almost alone in his praise of them (Chroniques and even his language seems evasive. After the Salon both paintings were set aside and largely forgotten until Duchamp and Breton inquired about them around 1947. Picabia found the paintings, restored them with the assistance of Christine Boumeestcr, and loaned them for special display at the Musee National d'Art Moderne in 1948. Udnie was purchased by that museum in 1949 and Edtaonisl made its way to The Art Institute of Chicago. Though subsequent recognition has made them landmarks in Modern Art, neither Udnie nor Edtaonisl has lost its ability to befuddle the "experts." The invented titles of these paintings probably reflect Duchamp's experiments with grammar and the word games naire

d'Art, Breunig, ed., Paris, i960, pp.337, 342),

described

by Apollinaire (Adema,

Apollinaire,

New York,

1955, p. 151). Pearlstein has suggested that Udnie may be an anagram of "nudite." Rubin (Dada and Surrealist Art,

New

York, 1969, p. 44) endorses Pearlstein's theory, although an adaptation of Undine seems even more in accord with Picabia's experiences and statements relevant to the painting.

*32

Edtaonisl (Ecclesiastical). (Edtaonisl

Oil on canvas, iiS'/jX llS 3 / 8 " (302 Inscribed

l.r.

November

15,

1913-January

1914, 110.1675

300.5 cm.)

"Picabia 1913"; u.c. "Edtaonisl"

The Art Institute of Chicago, Armand Phillip Bartos

Collection

Mrs.

Exhibitions:

Salon d'Automne, Paris,

(ecclesiastique)). 191

Gift of Mr. and

Galeric

Rene Drouin,

491, Paris,

March

1949, no. 11

Museum

of Modern Art, Dada, Surrealism and Their Heritage, [Rubin, cd.], New York, March 27-June 9, 196S, no. 260 Literature:

Provenance:

Mr. and Mrs. Armand

See references for no. 31 Phillip Bartos Isarlov, Picabia, Paris, 1929, p. 12

the artist

The Art

Institute

of Chicago, Paintings

in the

Art

Institute

Chicago, 1961, p. 355

Museum

of Modern Art, Dacia, Surrealism ami Their Heritagi New York, 1968, p. 27

[Rubin, ed.[

Rubin, Dacia and

Surrealist Art,

New

York, 1969, p.54

+ 33

Catch

The Solomon R. Guggenheim Museum,

Catch Can. 191

Gallatin Collections,

Oil on canvas, 39 5 /s x 32 '/Z (100.6 x 82 cm.) Inscribed

u.l.

"Catch

reverse "Picabia 191

Catch Can" and

I.e.

Musee

"Edtaonisl 1913";

New York,

Arensberg and

February 7-April

Cantini, Picabia, Marseille,

1961

15, 1962,

no.20 Kunsthalle Bern, Picabia, July 7-September

Lent by the Philadelphia Museum of Art, The Louise and Walter Arensberg Collection

16,

March 20-May 2,

1962, 110.5

Literature:

Buffet-Picabia, Aires abstraitcs, Geneva, 1957, pp. 68-9

Provenance:

Will-Levaillant, "Picabia et la machine," Revue de

Louise and Walter Arensberg

Paris, 110.4, IQ 69> p-77

I'art,

Andre Breton Marcel

Mme.

Duchamp

Exhibitions:

The Modern

Gallery, Picabia,

New

York, January 5-25, 1916,

no. 1

commemorated

Hotel Drouot,

Duchamp

Sale, Paris,

Galerie Briant-Robert, Picabia, Paris,

March

1926, no. 10

November

7-30, 1927,

no.13

Museum

of Modern Art, Fantastic Art, Dacia and Surrealism, December 7, 1936-January 17, 1937, no. 459

New York,

Art Institute of Chicago, Twentieth Century Art from Louise and Walter Arensberg Collection, October 20-

December

the

18, 1949, no. 161

Philadelphia

no. 159

Buffet-Picabia has recalled {Aires

abstraitcs,

pp.68-9)

one evening, she, Apollinaire and Picabia became fascinated with an enormous and fearsome Chinese wrestler seated next to them. They followed him to the match of catch-as-catch-can and Picabia that while eating in a restaurant

the artist

Museum

of Art, The Arensberg

Collection, 1954,

Can.

that evening's experience in Catch as Catch

A letter from Apollinaire to Mme. Buffet-Picabia

(January 22, 1915, published in Sanouillet, Dada a Paris, Paris, 1965, pp. 536-7) lends support to her recollection, but the inscription "Edtaonisl 1913" suggests a more complex

content incorporating

somehow

the "star dancer" (Mile.

Napierkowska see pp.21 and 22). Given Picabia's love of hidden meanings, the title Catch as Catch Can could refer to Mile. Napierkowska as well as to the Chinese wrestler. Each was, in his own way, a devastating performer, and in the shattered planes of this painting Picabia has employed the colors of Uduie and Edtaonisl.

1 34

Physical Culture. (Culture physique). 1913

Literature:

Apollinaire, Cluonique cVArt, Breunig, ed., Paris,

Oil on canvas, 35

/â&#x20AC;˘>

x 46"

(89.5

x 117 cm.)

pp.349, 365, 477-S

Signed and dated on reverse "Picabia 1913" This impressive painting

Lent by the Philadelphia Museum of Art, The Louise and Walter Arcnsberg Collection Provenance:

Louise and Walter Arcnsberg

Salon des Independents, Paris, March i-April 30, 1914, no. 2619

The

Society of Independent Artists,

New Art

York, April 10-May

Institute

First

Annual Exhibition

1917, 110.76

of Chicago, Twentieth Century Art from

the

Louise and Walter Arcnsberg Collection, October 20-

December

18, 1949, no. 162

Philadelphia 1954, 110.160

Museum

of Art, The Arensberg Collection,

one of the most abstract

in all

artist's private life. In a review of the 1914 Salon des Indepcndants, Apollinaire's praise of Physical

nature or in the

Culture was so ambiguous that another critic, Gaston him (probably with some accuracy) of not liking Picabia's work and hiding behind words (see reference above in Chroniques a" Art). Subsequent critics have been noncommittal, preferring instead to focus on such contemporary works as Udnie and Edtaonisl.

Thiesson, accused Exhibitions:

Picabia's oeuvre, equally devoid ot recognizable sources in

"Little"

Contemporary photographs verify that Udnie (110.31) was d'Automne and not this painting

Udnie. c.1913-1914

exhibited at the 1913 Salon

Oil on canvas, 77 Inscribed

l.r.

x 77V2" (197 x 197 cm.)

"Picabia";

u.l.

whose

Lent by Galerie Cavalero, Cannes, France

(New York, January

12-26, 1915) and referred to by it remained in Picabia's and was not exhibited until 1962 when the Musee Cantini presented it as Le Petit Udnie. It is smaller than the first Udnie (110.31), and might be distinguished by the title critics as

Provenance:

The

thick, wire-like lines suggest a slightly later date in

1913 or early 1914. Unless this second Udnie can be identified with a painting exhibited at the Photo-Secession Gallery

"Udnie"

Marriage comique,

possession artist

Exhibitions:

Musee

Cantini, Picabia, Marseille,

March 20-May

15, 1962,

Kunsthalle Bern, Picabia, July 7-September

"Little'"

Udnie, but the

La petite Udnie

no.21 2,

1962, no.6

title

since her sex

French should be amended to unquestionably female.

Udnie. Study for Pencil, 9>li

Inscribed

x 7V4"

l.r.

(24.

c.1913 19.5 cm.)

"Picabia"; u.r.

"Udnie"

Lent by Schwarz Gallery, Milan Provenance:

Mme. Simone

Collinet

Exhibitions:

Galeric Krugier, Dada, Geneva, February

17-March

30, 1966,

no. 50

Civico Padiglione, Dada 30, 1966, no.50

Museum Morsbroich 2, 1967,

no. 1

in Italia,

Milan, June 24-September

Leverkusen, Picabia, February 7-April

French Impetuosity. (Impetuosite francaise).

c.1913-1914 Watercolor on composition board, 21 '/a x 25 '// (54 x 64.S cm.) Inscribed

l.r.

"Picabia";

1.1.

"Impetuosite Francaise"

Collection Galerie Denise Rene, Paris Provenance: Private Collection Exhibitions:

Galerie Knoedler, Les Soirees de Paris, Paris,

May

16-June 30,

1958, no. 25

Musee

Cantini, Picabia, Marseille,

March 20-May

15, 1962,

no. 23

Kunsthalle Bern, Picabia, July 7-September

1962, no.

Hatton Gallery and the Institute of Contemporary Arts, Picabia, London, March-April 1964, no. 11

Exhibitions:

Animation. 19 14 Watcrcolor, 20 Inscribed

1.1.

251/4" (52.8

"Picabia 1914";

Rosamond Bcrnier

u.l.

Collection,

64.1 cm.)

"Animation"

New York

The London Gallery, The Cubist March iS-May 3, 1947, no.27

Spirit in Its

Matthicsen Gallery, Picabia, London, October-November 1959, 110.19

Kunsthalle Bern, Picabia, July 7-September Provenance:

Mr. and Mrs. Roland Penrose, London

Time, London,

1962, no.

Hatton Gallery and the Institute of Contemporary Arts, Picabia, London, March-April 1964, no. 12

Paul Eluard, Paris Animation, unlike most of Picabia's contemporary paintings, seems to harbor no philosophical comment or reference to specific episodes in his life, although its formal properties composition, line, form and color - do suggest a psychological state

of "animation."

Predicament. (L'Embarras). 1914 Watercolor, 20 7 / 8 x 25 5 / 8 " (53 x 65 cm.) Inscribed

l.r.

"Picabia 1914.";

Collection Mrs.

u.l.

"Embarras"

Victor Lcventritt,

New York

Provenance:

Leo

Castelli Gallery,

Andre Breton, Marcel

New York

Paris

Duchamp

the artist Exhibitions:

Hotel Drouot,

Duchamp

Sale, Paris,

March

Galerie Furstenberg, Picabia, Paris, June 5-July

1926, 110.16 5,

1956, no. 12

t-jo

Memory My Dear Udnic. ma chore Udnie). 0.1914

Sec Again in

(Jo revois en souvenir 1

on canvas, 9S

Inscribed

Cliere

I.r.

x 78

"Picabia";

(250 x 198.8 cm.)

"Je Revois

The Museum of Modern

Hillm.m Periodicals Fund, 1954

New

York

Paris

the artist

En Souvenir

Udnie"

Collection

Sidney Janis Gallery,

Leonce Rosenberg,

>/j"

1.1.

Provenance:

Exhibitions:

Gallery of the Photo-Secession York, January 12-26, 1915 Little

Art.

New

York,

New-

[291], Picabia,

Galerie Leonce Rosenberg, Picabia, Paris,

December

9-31,

1930, 110.7

Galerie

Rene Drouin,

41)1,

Paris,

March

1949, 110.9

The Museum of Modern Art Dada, Surrealism ami Their Heritage, Rubin, ed., New York, March 27-Junc 9, 196X, 110.261

Literature:

Anonymous (probably E. L. Carey), "Art at Home and Abroad: News and Comments," New York Times, January 24, 1915, sect. 5, p. 11 (reprinted New York, no. 48, October 1916, p. 17) Pearlstein,

New York, January

Arts,

Camera Work,

"The Symbolic Language of Francis

Picabia,"

1956, pp. 41-2

Rosenblum, Cubism and Twentieth-Century

New

Art,

York,

1961, p. 156

Camfield, "The Machinist Style of Francis Picabia," The Art Bulletin,

New York,

September-December

The Museum of Modern Heritage,

Rubin,

ed.,

1966, p. 3 13

Art, Dada, Surrealism and Their

New York,

Hamilton, Painting and Sculpture Baltimore, 1967, pp. 242-3 Will-Levaillant, "Picabia et

1968, p. 27 in

Europe, 1S80

machine," Revue de

1940,

I'art,

Paris,

no. 4, 1969, p. 78

Rubin, Dada and

Surrealist Art,

New York,

1969, p. 54

The

legacies of Cubism and of Duchamp's 1912 painting of The Bride (which he gave to Picabia) are evident in this work,

but they have been transformed into one of the finest paintings in Picabia's oeuvre and an outstanding example of abstraction in French art prior to the First

T41

Born without

Girl

Mother.

World War.

(Fille

Bonnet, "Apollinaire

nee sans

Paris,

mere), c.1915 8'/ 2 " (26.7

Ink, 10^2

Inscribed

1.1.

Collection

"Picabia";

et Picabia,"

Revue

des Lettres

Modemes,

1963, p. 73

Camfield, "The Machinist Style of Francis Picabia," The Art Bulletin,

x 21.6 cm.) l.r.

"Fille

Stieglitz Collection,

New

New York,

September-December

The Museum of Modern

nee sans mere"

The Metropolitan Museum of Art,

The Alfred

November

1966, p. 314

Art, The Machine, Hulten, ed.,

196S, pp. 82-3

York,

1949

Will-Levaillant, "Picabia et

machine," Revue de

I'art,

Paris, 110.4, 1969, p. 78

Rubin, Dada and

Provenance:

Surrealist Art,

New

York, 1969,

p. 53

Alfred Stieglitz

This drawing Exhibitions:

Modern

New

York, January 5-25, 1916,

no. 12

The Museum of Modern York, June 10-August

Art, Alfred Stieglitz Collection,

New

31, 1947, no. 86

Art Institute of Chicago, Alfred

Stieglitz, 1948,

ed.,

New

Literature:

Haviland, Statement in 291, nos.7-8, September-October 1915 Pearlstein, Arts,

"The Symbolic Language of Francis

New York, January

1956, pp. 37-43

Picabia,"

Memory

(no. 40),

rods also associates

(reversible to

no. 121

The Museum of Modern Art, The Machine, Hulten, York, November 30, 1968-February 9, 1969, p. 82

close in style to I See Again in

but a clearer suggestion of springs and with the machinist paintings of 1915 the year in which Girl Born without a Mother is first documented by a reproduction in 291 (110.4, June IQ I5)- This concept of the machine as a girl born without a mother

Dear Udnic

Gallery, Picabia,

woman

as a

machine that serves man)

continued in Picabia's painting (110.49) a "d his poetry (Poemes et dessins de la fille nee sans mere, Lausanne, 1918). It has also continued to interest historians, prompting references to alchemy as a magical means of fertilization (see Hulten above), to the birth of Athena from the forehead of Zeus and the feminine gender of the French noun "machine" (see

However, even if one adds the Old Testament story of the creation, the genealogy of Picabia's Girl Born without a Mother has not yet been fully established. Pearlstein above).

T42

Here, This

Is Stieglitz. (Ici, e'est ici Sticglitz).

1915

Tlie 9,

Machine,

1969, p.87

Literature:

x 20"

Ink, 29'/ s

Inscribed

The Museum of Modern Art, Hulten, cd., New York, November 30, 1968-February

l.r.

"F.

(75.9

"Some Memories of Pre-Dada: Duchamp," The Dada Painters and Poets, Robert

Buffet-Picabia,

50.S cm.)

Picabia and

Picabia/1915/New York";

Motherwell u.l. "Ici, e'est ici

Collection

Sticglitz/foi ct

amour";

u.c. "Ideal"

The Metropolitan Museum of Art, The

Sticglitz Collection,

Alfred

1949

(ed.),

New

York, 1951, PP.257-5S

Camfield, "The Machinist Style of Francis Picabia," The Art

New

Bulletin,

York, September-December 1966,

The Museum of Modern Rubin,

New York,

Provenance:

Heritage,

Alfred Sticglitz

Will-Lcvaillant, "Picabia et

An American

Place, Exhibition,

New

Rubin,

Museum

of Art, Alfred

Di7i/ii

1968, p.27

machine," Revue

de Fart,

York, 1969,

Sticglitz,

March 1944-

5-6 of 291 (July-August 191 5) was devoted almost exclusively to such machine object-portraits by Picabia, and, as substantial

The Whitney Museum of American

his

New

Number

January 1947, no. 169

Armory Show,

and Surrealist Art,

York, October 27-

27, 1937, no.66

Philadelphia

Paris, 110.4, 1969. P-79

Exhibitions:

December

ed.,

p. 3 14

Art, Dada, Surrealism and Their

Art, The Decade of the York, February-April 1963, no. 28

new

of 1915.

numbers of 291 were regularly mailed to Paris, known there by the late summer

machinist style was

*43

Gabrielle Buffet. She Corrects

Laughingly. (Elle corrige

les

Manners

moeurs en

Exhibitions:

riant).

Modern

Gallery, Picabia,

New York, January 5-25,

1916,

110.10

1915

Duchamp Sale, Paris, March 8, 1926, 110.18 The Museum of Modern Art, The Machine, Hulten, ed., New York, November 30, 1968-February 9, 1969, p.92 Hotel Drouot,

Gouache and watercolor on board, 23 x Inscribed

l.r.

"Lc Fidele/Picabia";

u.l.

i&'/i" (58.5

x 47 cm.)

"Gabrielle Buffet"; Literature:

l.r.

"Elle corrige les

moeurs en

riant"

Collection Mr. and Mrs. Arthur A. Cohen,

The Museum of Modern

New York

New York,

Art, The Machine, Hulten, ed.,

1968, p.92

Provenance:

Cordier-Ekstrom,

Brook Marcel

Inc.,

Street Gallery,

Duchamp

the artist

New York

London

In the early

fall

of 19 15, Gabrielle Buffet-Picabia went to

New York to save or "shield" her husband from the consequences of his status as a military deserter. This may have prompted him to select an automobile windshield for her object-portrait, but interpretation is largely guesswork in the face of a

who was

mocking

signature

never noted for

by Picabia "the

his fidelity.

faithful"

t44

This Thing

Made

to Perpetuate

My Memory.

Galerie Colette Allendy, Picabia, Paris, October 18-

Novcmbcr (Cette chose est faite pour perpetuer nion

16, 1946,

no. 5

(as

"Les Disques")

Galerie Chalette, Construction and Geometry

souvenir. Les Disques). 19 15

York, March 31-June

Oil and metallic paint on board, 39 x 40" (99 x 101.6 cm.)

3-April

in Painting,

New-

i960

Albright-Knox Art Gallery, Phis by Minus, Buffalo, March Inscribed

1.1.

"Picabia"; u.c. "Cette

Chose Est

"lis Tournent"; N'Entendrez Pas"

1.1.

l.r.

Faite

Pour

Comme

Lc Jour"; "Vous Avez Des Oreillcs Et Vous

Perpetuer M011 Souvenir/Lis/C'est Clair

14, 1968, 110.152

Literature:

The Sun, "Happening in the World of Art," January 23, 1916, sect. 5, p.S

New

York,

Camficld, "The Machinist Style of Francis Picabia," The Art Collection

The

Arts

Club of Chicago

Bulletin,

New

York, September-December 1966,

p. 3 16

Provenance:

The Rose

Fried Gallery,

Mine. Buffet-Picabia,

New

York

Paris

Beginning with

Exhibitions:

Modern

Gallery, Picabia,

New York, January

comments 5-25, 1916,

no.

probably Salon des Ind&pendants,

Paris,

January 28-February

29, 1920, 110.3550

probably 110.5 (as

Sans Pareil, Picabia, Paris, April 16-30, 1920, comme le jour")

"C'est clair

his machinist style, Picabia often printed

on the paintings. These inscriptions though often their veiled meanings cannot be determined. Here one inscription - "They turn. You have cars and will not hear" - probably identifies the as

well as

titles

are always significant,

black discs as

gramophone

records, but the instruction to

"Read," "It is as clear as day" merely mocks the spectator and undermines the visual order of this striking composition.

Rose Fried Gallery, Picabia, New York, February 195O, (as "Dedee d'Amerique")

Reverence. (Reverence). 191

no.4 Oil and metallic paint on board,

39'/-4

39'/j" (99-7

x 99-7

cm.)

December

Inscribed fait

l.r.

"Picabia"; u.c. "Reverance";

pas l'eloge

Collection

du temps

1.1.

"Objet qui ne

passe"

The

New

York,

State University, Turn of the Century Exhibition,

Museum

10-May of Art,

1964

1014,

October 6-November

15,

Gallery, Picabia,

New

York, January 5-25, 1916,

no.

Salon des Indipendants, Paris, January 28-February 29, 1920, 110.3555 Pareil, Picabia, Paris, April 16-30, 1920, no.

Rene Drouin,

Christian Science Monitor, "Picabia's Puzzles," Boston,

Camfield, "The Machinist Style of Francis Picabia," The Art Bulletin, New York September-December 1966, p. 3 16

Buffet-Picabia, Paris

Galerie

Picabia,

1954, 110.2

January 29, 191

New York

Exhibitions:

Au Sans

Baltimore

Literature:

May

Rose Fried Gallery,

Modern

1953-January

1964, 110.186

Provenance:

Mrs. Sadie A.

Michigan

East Lansing, April

The Baltimore Museum of Art, Sadie A. May

Collection

Mme.

Rose Fried Gallery, Duchamp and

jgi, Paris,

March

1949, 110.15

Paroxysm of Sadness. (Paroxyme dc

doulcur).

Galeric Krugicr, Dada, Geneva, February

17-March

30, 1966,

110.52

Kunsthaus Ziirich, Dada, October 8-November

1915 Oil on board, li'/ix 31

/;"

(80 x 80 cm.)

Museum April

September

"F. Picabia/Dans la villc Madreporique/ 191 5"; u.l. "Paroxyme/De La Doulcur"

Collection

Simone

Heritage,

Inscribed

l.r.

Collinet, Paris

Galeric Francois Petit, Paris Exhibitions:

Modern

Gallery, Picabia,

New

York, January 5-25, 1916,

110.7

Galeric Furstcnbcrg, Picabia, Paris, 5,

1964, no.

November 4-Dccember

Morsbroich Leverkusen,

Picabia,

February 7-

1967, no. 14

The Museum of Modern 110.262

Provenance:

17, 1966,

110.195

Rubin,

cd.,

Art, Dada, Surrealism and Their

New

York, March 27-June

1968,

Machine without Name. (Machine

sans

nom).

Salon des Independants, Paris, January 28-February 29, 1920, 110.3552

1915

Galerie

Gouache and (120.6

metallic paint

on board, 47

x 26"

1.1.

Collection

"Machine Sans

of Art, Carnegie

Nom"

Institute, Pittsburgh,

Pennsylvania

Thompson

Rose Fried Gallery,

February 1950,

Classic Tradition in

110.3

Contemporary

Rose Fried Gallery, Duchamp and

December

1953-January

Picabia,

New York,

1954, 110.3

Art Associates of Lake Charles, The Trojan Horse, Lake

New York.

Charles, Louisiana, i960. Literature:

Exhibitions:

Modern

1949, 110.14

Contemporary Arts Association of Houston, The Art of the Machine, September 25-November 9, 1958

Provenance:

G. David

March

New York,

Art, Minneapolis, April 24-June 28, 1953, 110.103

"Picabia"; u.r.

Museum

491, Paris,

Picabia,

Walker Art Center, The

x 66 cm.)

Inscribed

Rene Drouin,

Rose Fried Gallery,

Gallery, Picabia,

New York, January

5-25, 1916,

Brown, American

Painting from the

Armory Show

Depression, Princeton, 1955, pp.112-13. 117.

The

Midst of Suns.

Little Solitude in the

Solitude au milieu des

soleils).

Ink and gouache, i8 7 /s x 13

'/:"

Inscribed

l.r.

(Petite

c.1915-1920

x 34.5 cm.)

(48

"Picabia";

Solitude/Au Milieu Des Soleils"; "Tableau Pcint Pour Racontcr Non Pour Prouver"

u.r. "Petite 1.1.

Lent by Schwarz Gallery, Milan Provenance:

Mine. Olga Picabia Exhibitions:

17-March

Galerie Krugicr, Dada, Geneva, February

30,

1966, 110.63

Civico Padiglione, Dada

in Italia,

Milan, June 24-Septembcr

30, 1966, 110.62

Museum Morsbroich 2,

Leverkusen, Picabia, February 7-April

1967, 110.31

Musee de Strasbourg, Europe

iqiS,

May

8-September

is,

1968, 110.197 Literature:

The Museum of Modern Modern Art, Huten, ed., The

Art, The Machine,

Museum of

New

p. 85

York, 1968,

location of the original version of

Midst of Suns Gallery,

New

(first

exhibited by this

York, January 1916)

three versions of it are

now

Little Solitude in the

title at

Modern

the

unknown. At

least

extant - the Schwarz Gallery

painting in this exhibition, another in the Reutersward

and

collection in Stockholm,

Gallery in London.

Still

a third

formerly

versions are

reproductions. All differ from each other in details.

the Kaplan

known through size,

media and

Some of them were probably done after the when Marie de La Hire published a

perhaps in 1920

(Francis Picabia, Galerie

La Cible,

Paris, 1920)

edition bearing ripped-in prints that Picabia

original

booklet

with a deluxe have hand-

may

tinted.

No suggestions

regarding the content of .4

have been made

until recently

Little Solitude.

when K. G. Pontus Hulten

organ (The Machine, 1968, p. 85) and Mme. was derived from a poem by Jules Laforgue (conversation with the author, July 1965). More satisfying interpretations await a correlation of such and its ideas with the inscriptions on A Little Solitude machine sources. The latter include a separator (fig. 48a) and an unidentified machine; in the original painting (reproduced in Arts and Decoration, New York, April 1916, p. 286) the inscriptions also include a key in the lower right related the title to the female sex

Museum of Modern

Art,

New York,

Buffet-Picabia claimed that the

title

corner that identifies the numbered circles or "suns":

Soleil ecclesiastique

2. Soleil 3.

interne de lycee

Soleil maitre d'Hotel

4. Soleil orhcier 5.

supericur

Soleil officier artiste

identity of these "suns" suggest Duchamp's malic moulds, and it is worth noting that they have been "separated" in an arrangement that reserves for the artist a "little" sun

The

at the top.

Girl

Born without

Mother.

nee sans

(Fille

mere), c.1916-1918 Gouache, gold metallic paint and railway machine diagram, l9=/a

x 25 1/2*

Inscribed

mere";

1.1.

l.r.

(50

x 65 cm.)

two words

effaced followed

"Fille

nee sans

"Barcelona Picabia"

u.c. effaced

words "Cette machine

pouvoir"?

Collection Mr. and Mrs. Arthur A. Cohen,

New York

Provenance:

Brook

Street Gallery,

London

Exhibitions:

The Museum of Modern

New York, November

Art, The Machine, Hulten, ed.,

30,

1968-February

1969, p. 83

Machine Turn Quickly. (Machine tournez

vite).

c.1916-1918 Gouache on board, Inscribed 1.1.

l.r.

x i2 5 /s" (49 x 32 cm.)

191/.,

"Picabia"; top

"Machine Tournez Vite";

Femmc/2 Homme"

Collection Mr. and Mrs. Fred Shore,

New

York

Provenance:

Schwarz Gallery, Milan Exhibitions:

Galleria Schwarz, Picabia, Milan,

May

5-June

1964, 110.2

Galerie Krugier, Dada, Geneva, February 1966, no. 53

Civico Padiglione, Datia

Milan, June 24-Scptember

in Italia,

30, 1966, no. 52

Kunsthaus Zurich, Dada, October 8-Novcmbcr

17, 1966,

no. 196

Museum 2,

Morsbroich Leverkusen,

February 7-April

1967, no. 1

The Museum of Modern Heritage, 110.263

Picabia,

Rubin,

ed.,

Art, Dada, Surrealism and Their

New York,

March 27-June

196S,

Study for Sweetheart. (Etude pour Novia).

c.1916-1917

l.r.

"Picabia";

1.1.

Collection Mr. and Mrs. Robert Motherwell,

Gallery,

Inscribed

l.r.

"Mecanique"

Collection Galerie Denise Rene, Paris

"Etude Pour Novia"

New

York

Provenance:

Leonce Rosenberg, Paris

Provenance

Weyhe

Mechanical. (Mecanique). c.1916-1918 Ink and watercolor on board, 22'/4 x i8 3 / 8 " (56.5 x 46.7 cm.)

Watercolor, 22>/4 x 17" (56.5 x 43.2 cm., frame window) Inscribed

New York

Exhibitions:

Galerie Denise Rene, Art abstrait constructif, Paris, 1961, no. 52

Exhibitions:

Rose Fried Gallery,

Picabia,

Sidney Janis Gallery, Dada,

New York, New York,

February 1950, no. 11 April

15-May

1953, 110.167

Picabia painted at least four Sweethearts during his machinist period, all of them somewhat different in style, though possessing similar images of wheels and shafts. The only well-documented version was signed and dated 1917 and served as the cover for the first issue of 391 (Barcelona, January 25, 1917). The full title of that painting, Sweetheart

of the First Occupant (Novia an premier occupant), identifies the sweetheart with Eve, a woman born without a mother, and suggests a role of creator-god for the to create without the collaboration

artist,

given his ability

of a mother.

Musee

Cantini, Picabia, Marseille,

March 20-May

15, 1962,

no.24 9,

Kunsthalle Bern, Picabia, July 7-September

1962, no. 10

Hatton Gallery and Institute of Contemporary Arts, London, March-April 1964, no. 13

Picabia,

Literature:

Will-Levaillant, "Picabia et

machine," Revue de

I'art,

Paris, no.4, 1969, p. 78

No known

documents support the date 1913-14 consistentdrawing. An inscription on the back, 1913," does not appear to be by Picabia. The painterly style of this machine is compatible with works of c. 1916-18 (nos.51 and 53), and it is mounted alongside such ly attributed to this

"New York

painterly machines (including Study for Sweetheart, no. 51) in

the earliest extant document, a photograph of Picabia's in

IVeo&a.

Tremblay-sur-Mauldre (occupied 1922-24, see

p. 35).

home

Wheel Which Regulates

the

Movement of the

Moderna Museet, September

Machine. (Volant qui Reguralise

mouvement

cle la

machine),

[sic| le

Rorelse

3, iyfii,

Konsten, Stockholm,

Kunsthallc Bern, Picabia, July 7-September

19 16-191

Musee

May

17-

110.143

Cantini, Picabia, Marseille,

1962, 110.13

March 20-May

15, 1962,

110.28

Oil on board, 22'/: x 18'// (57 x 47 cm.) Inscribed

l.r.

"Picabia";

1.1.

"Volant qui Reguralise

[sic]

Mouvement Dc La Machine" Collection

Simone

Galerie Furstenberg, Picabia, Paris,

Collinet, Pans

November 4â&#x20AC;&#x201D;December

1964, 110.12

Galerie Krugier, Dada, Geneva, February 1966, 110.60

Provenance:

Mme. Germaine

Hatton Gallery and The Institute of Contemporary Arts, Picabia, London, March-April 1964, 110.15

Kunsthaus Zurich, Dada, October 8-November

Everhng-Picabia, Cannes

17, 1966,

110.198 Exhibitions:

Galerie Furstenberg, Picabia, Paris, June >-July

Museum 5,

1956, 110.15

Kunsthallc Diisseldorf, Dada, September 5-October

19, 1958,

Morsbroich Leverkusen,

Picabia,

February 7-April

1967, no.25

Literature:

110.194 Stedelijk

Museum, Dada, Amsterdam, December 195Sâ&#x20AC;&#x201D;

January 1959, 110.184 Matthiesen Gallery, Picabia, London, October-November, 1959, 110.22

Will-Lev.iillant, "Picabia et Paris, 110.4, IQ 69. P-7&

machine," Rente dc

I'art,

t54

Amorous

Galerie

Parade. (Parade amoureuse.) 1917

Rene Drouin,

4Qi, Paris,

March

Galerie Artiste et Artisan, Picabia, Paris,

Oil on canvas, 38 x 29" (96.5 x 73.7 cm.) Inscribed

1.1.

"Francis Picabia 1917";

Collection Mr. and Mrs.

I.e.

December "Parade Amoureuse''

Morton G. Neumann, Chicago

Simone

November 20-

1951, no.i

Sidney Janis Gallery, Dada,

New

York, April 15-May

I0 53> no. 163

The Museum of Modern Provenance:

1949, no. 17

New York, November

Art, The Machine, Hulten, ed.,

30,

1968-February

1969, p. 89

Collinet, Paris Literature:

Hotel Drouot, Paris

Marcel

Camfield, "The Machinist Style of Francis Picabia," The Art Bulletin, New York, September-December 1966, p.318

Duchamp

the artist

The Museum of Modern

Exhibitions:

New York,

Cirque d'Hiver,

Hotel Drouot,

Paris,

December 1919 Sale, Paris, March

Duchamp

Galerie Leonce Rosenberg, Picabia, Paris,

Art, The Machine, Hulten, ed.,

1968, p. 89

Will-Levaillant, "Picabia ct S,

1926, no. 26

December

9-31,

1930, no.9

110.4,

machine," Revue de

As noted by Hulten

(see Literature

above), there

inherently erotic about this machine, but

The Museum of Modern Museum of Modern Art,

Art, Cubism and Abstract Art,

Barr, ed.,

New York,

March 2-

April 19, 1936, no. 202

Museum

Fantastic Art,

Dada and

December

1936-January 17, 1937,

Surrealism,

of Modern

art,

Vart, Paris,

1969, p. 80

its title

nothing

triggers

our imagination, and within a matter of moments a merely droll, gangling apparatus is charged with sexual connotations that can be quite confusing or suggestive, hilarious and unsettling.

195

t>5

Universal Prostitution. (Prostitution univcrselle).

0.1916-1917 Ink. tempera

and metallic paint on board. 20 J /s x 37'/Âť"

X94.3 cm.)

Inscribed u.r. "Prostitution/Universelle"; u.c. l.r.

"Convier... Ignorer... Corps Humain"; "Sexe Feminin Ideologique" and "Sac de Voyage"

Collection Yale University Art Gallery, Gift of Collection Societe

Anonyme

Provenance:

Marcel

Duchamp

Exhibitions:

Worcester Art Museum,

December

The Solomon and Fantasy,

New

Anonyme, November 3-

Guggenheim Museum,

May

York,

The Museum of Modern

New

Sociite"

1921, no. 32

York, November

Rousseau, Redon,

31-September

1968

Art, The Machine, Hulten, ed..

30,

1968-February

9, 1969, p. 95

Literature:

Camheld, "The Machinist Style of Francis Picabia," The Art Bulletin, New York, September-December 1966, p. 3 18 Will-Levaillant, "Picabia et no.4, 1969, p. 80

machine," Revue

I'art,

of Marie Laurencin, Four

Portrait

Hand.

c.1917 Ink and watercolor on board, 22 x i7 7 /Âť" (56 x 45.5 cm.) Inscribed

"Francis Picabia";

1.1.

u.l.

"Portrait dc Marie Laurcncin/Four in

I.e.

"A L'Ombre D'Un Boche";

r.c.

l.r.

Hand";

"Le Fidele Coco";

N'Est Pas Donne

"II

Barcelone", and

A Tout Le Monde/D'Aller A

"A Mi-Voix"

Collection Mrs. Barnett Malbin, Birmingham, Michigan

(The Lydia and Harry Lewis Winston Collection) Provenance:

Rose Fried Gallery,

New York

Exhibitions:

Galerie Colette Allendy, Picabia, Paris, October

November

18--

16, 1946, no. 17

Yale University, Gertrude Stein's "Picture for a Picture", Haven, February 11 -March 11, 1951

Rose Fried Gallery, Some Areas of Search,

New

York,

New

May-

June, 195

Rose Fried Gallery, Duchamp and

December

1953-January

Picabia,

New York,

1954, 110.4

Detroit Institute of Arts, The Winston Collection, September-

November

1957

Detroit Institute of Arts, French Drawings and Watercoiors,

January 1962

Four

Ham

The Solomon o

Drawings,

Guggenheim Museum,

New York, November 6,

The Museum of Modern

New

York, November

The Machine, Hulten

Art,

30,

20th Century

1963-January

1968-February

1964

ed.,

1969, p. 88

Literature:

Buffet-Picabia, Aires abstraites, Geneva, 1957, p. 37

Camfield, "The Machinist Style of Francis Picabia," The Art Bulletin,

New

York, September-December 1966, pp.3 17-18

The Museum of Modern

New York, LeBot,

Art, The Machine, Hulten cd.,

1968, p.88

Picabia, Paris, 1968, pp.

127-8

This fanciful, non-functional machine, rendered with disdain for technical finesse and sprinkled with seemingly absurd

most spectators as an anti-art, antimachine statement. To the contrary, Picabia was not particularly concerned about art or technology; he produced a symbolic portrait of Marie Laurencin in which mechanical forms and inscriptions arc intimately related. The inscriptions identify the subject, and refer to the conditions of her life in Barcelona in 1916-17, to her dog Coco and to her husband - a German (boche) whose nationality did cast a inscriptions, strikes

shadow over

their life during the war.

Mme.

Buffet-Picabia

of Marie Laurencin and machine form during

recalls that Picabia associated the liveliness

with the

Mme.

effect

of a ventilator

(see Literature above),

Albert Gleizes (also depicted in a

1916-17 period in Barcelona) reports that Picabia attached great importance to these portraits which he

this

considered "tres ressemblants" (unpublished memoirs

quoted from an authorized typescript by courtesy of Mr. Daniel Robbins).

t57

Music la

Like Painting. (La Musiquc

peinture).

comme

est

1913-1917

Watercolor and gouache(?) on board, 48 x 26" (122 x 66 cm.) Inscribed

I.e.

"Picabia";

u.l.

"La Musiquc Est

Comme

Peinture" Collection N. Manoukian, Paris Provenance:

Hotel Drouot, Pans

M. Jacques Douect,

Paris

Exhibitions:

Probably The Society of Independent Exhibition, New York, April 10-May probably Galerie Povolosky,

Annual

Artists, First

1917, no. 77

Picabia, Paris,

December

10-25,

1920, 110.45

Galerie Leonce Rosenberg, Picabia, Paris,

December 9-3

1930, no.

Rene Drouin,

Galerie

jgi. Pans,

March

Galerie Artiste et Artisan, Picabia, Paris,

December

November 20-

195 1, 110.10

Hotel Drouot, Public

Musee

1949, 110.13

Sale, Paris,

Cantini, Picabia, Marseille,

May

25, 1959, 110.21

March 20-May

15, 1962,

110.25

KunsthaUe Bern,

Picabia, July

7-September

1962, no. 11

Literature:

LeBot, Francis Picabia,

Paris, 1968, p. 121

Music

Is Like Painting offers a simple, striking visual experience - and puzzling questions of fact and interpretation. It is first

The

documented

New

York

Society of Independent Artists.

the 1917 exhibition of

However,

was

exhibited with Physical Culture (110.34) of x 9!3. and affinities with his work of 1913-14 arc suggested by its apparent abstractness

and

a title asserting the

symbolist concept of

correspondance.

While

Picabia's espousal

of correspondance

well-

documented, no obvious reference to it is suggested by the source of this composition - a diagram ot the effect of a magnetic field on alpha, beta and gamma particles (fig. 57a). Multiple versions of this painting complicate its identity in past exhibitions.

original

The Manoukian

version

probably the

work; the other versions are much smaller

in size

and may be cither studies for the original or hand-tinted prints for the deluxe edition of Marie de La Hire's booklet, Francis Picabia, Paris, 1920.

Rauons :auons v"

Music

Like Painting. (La Musique

comme

est

la peinture). c. 191 5-1920

Watercolor, 9 7 / 8 x 5'/s" (23.5 x 13 cm.) Inscribed

I.e.

"Picabia";

u.l.

Comme

"La Musique Est

Peinture" Collection Prof. Guido Rossi, Milan Provenance:

Schwarz Gallery, Milan Exhibitions:

Galleria Schwarz, Picabia, Milan,

May

5-June

1964 (not

in catalogue)

Galerie Krugicr, Dada, Geneva, February

17-March

30, 1966,

110.51

Civico Padiglionc, Dada

in Italia,

Milan, June 24-Septembcr

30, 1966, no. 51

Museum Morsbroich 2,

Leverkusen, Picabia, February 7-April

1967, 110.16

Abstract Lausanne. (Abstrait Lausanne), c.1918 Oil or gouache on board, 29^2 x 19

Signed

l.r.

//' (75

x 49 cm.)

"Francis Picabia"; signed and dated

on reverse

Collection Simone Collinet, Paris

Provenance:

Mme. Germaine

Everling-Picabia, Cannes

Exhibitions:

Galerie Furstenberg, Picabia, Paris, June 5-July >*

"Âť

1956, no.16

Kunsthalle Diisseldorf, Dada, September 5-October 19, 1958, ,

^fr-

no. 198

Matthiesen Gallery, Picabia, London, October-November 1959, no. 24 Galerie

Mona

Lisa, Picabia, Paris,

November-December

1961,

110.19

Kunsthalle Bern, Picabia, July 7-September

1962, 110.28

Hatton Gallery and Institute of Contemporary Art, London, March-April 1964, no.17

Galerie Furstenberg, Picabia, Paris,

Picabia,

November 4-December

1964, no. 13

Kunsthaus Zurich, Dada, October 8-November

17, 1966,

110.204

Museum Morsbroich 2,

Leverkusen, Picabia, February 7-April

1967, 110.28

Abstract Lausanne

another unique

career - difficult to relate to his

work

in Picabia's

contemporary production,

but, in this instance, suggestive of both Miro's abstract

paintings eight years later and of Picabia's

own

abstract

paintings during the 1940s.

by the apparent abstracand buoyant naivete of this work, but forms always meant something to Picabia and these seem no exception. Among Picabia's associates, the dashed-spiral motif might have been most closely associated with Jarry's Pere Ubu, but Interpretive efforts are not invited tion

T^nr ;$

ficmftii

a mysterious, ubiquitous motif in early modern art - here combined with forms evocative of stars, orbs and perhaps

it is

the sea.

To NE

rtouRRAi

f*S

TouT EMflFR,

v_y

t6o

Guillaumc Apollinaire. c.1918 Watercolor and ink, 22 s /g x i7'/s" (57-4 x 45.4 cm. frame

window) l.r. "Maitrc De Soi-Meme/Picabia"; "Tu Nc Mourras Pas Tout Enticr"; "Guillaumc Apollinairc/Irritable Poete"

Inscribed u.c. c.

Private Collection

Provenance:

Robert Friedman,

New York New York

Rose Fried Gallery,

Galerie Furstcnberg, Paris

Andre Breton,

Paris

Exhibitions:

Galerie

Rene Drouin,

Rose Fried Gallery,

491, Paris,

Picabia,

March

New

1949, 110.22

York, February 1950,

Rose Fried Gallery, Duchamp and Picabia, December 7, 1953-January 8, 1954, 110.6

Musee

Cantini, Picabia, Marseille,

New

110.12

York,

March 20-May

15, 1962,

no. 29

Kunsthalle Bern, Picabia, July 7-September

1962, 110.14

Traditionally this drawing has been dated 1917, but stylistic

and the inscription, "You completely die," indicates an homage to who died in November 1918. Neither the intended symbolism nor the machine source for this object portrait has been discovered. features suggest a date of 191S-19 will never

Apollinaire

;

j6i

Bring

Me There.

(M'amenez-y). c.1918-1920

Kunsthalle Bern, Picabia, July 7-September

1962, 110.29

Kunsthaus Zurich, Dada, October 8-November Oil on board, 56>/s x Inscribed

x 102.9 cm.)

"Portrait

1.1.

17, 1966,

no. 1 99

The Museum of Modern

"Francis Picabia";

"M' Amenez-Y"

c. t.

l.r.

40'/2" (142.5

Heritage,

A L'Huile De Rincin!";

Rubin,

ed.,

Art, Dada, Surrealism and Their

New York,

March 27-June

1968,

110.266

"Peinture Crocodile/Ratelier D'Artiste" and "Pont-

Literature:

L'EvSque" Collection The Museum of Modern Art, Helena Rubenstein Fund, 1968

New York,

Jean, History of Surrealism, London, i960, p. 86

The Museum of Modern Heritage, Rubin, ed.,

Art, Dada, Surrealism and Their

New York,

1968, pp.27, 189

Provenance: Estate of Jean (Hans)

16, 1946, 110.7

Galerie Artiste et Artisan, Picabia, Paris,

December Musee no.32

exact date of Bring

was current fig. 1 1), and

Galerie Colette Allendy, Picabia, Paris, October 18-

November

Me There is not known, but its title works of 1919-20 (The Double World, a Dada spirit prevails in both the style and the inscriptions of this painting. The contrast of precise machine forms and painterly brushwork may operate as a formal counterpart to the contrast of the title, Bring Me There, and the surrounding inscriptions - "Portrait of castor oil" (a Laxative), "Artist's false teeth" and a strong cheese ("Pont-1'Eveque"). Rubin and Jean (see Literature above) have noted that "M'amenez-y" is a substitution for the "Amenez-y-moi," and involves a play on the word "amnesic." The

Arp

Exhibitions:

November 20-

195 1, no.6

Cantini, Picabia, Marseille,

March 20-May

15, 1962,

in other

Beware la

Wet

Exhibitions:

Paint. (Prenez garde a

peinture). c.1917-1919

Sans Pareil, Picabia, Paris, April 16-30, 1920, 110.7

Hotel Drouot,

enamel and metallic paint on canvas, 36

Oil, (93

x 28-74"

a la

Galerie

Peinture";

March

1926, no. 19

December 9-31,

jgi, Paris,

Picabia,

The Museum of Modern

New

Schwarz Gallery, Milan

New

March

1949, no. 18

York, February 1950,

York, November

110.5

1956, no. 14

Art, The Machine, Hulten, ed.,

30,

1968-February

9, 1969, p.

Both the formal properties of this undated painting and the impertinence of its title seem most closely related to documented works of 1917-19.

York

Galerie Furstenberg, Paris

Mine. Andre Breton

Duchamp

the artist

PRLNEZ CAROL

New

Galerie Furstenberg, Picabia, Paris, June 5-July

Provenance:

Marcel

Rene Drouin,

Rose Fried Gallery,

Moderna Musect, Stockholm

Sidney Janis Gallery,

Sale, Paris,

1930, no. 10

bottom "Prenez Garde

"Francis Picabia"; others

Collection

Duchamp

Galerie Leoncc Rosenberg, Picabia, Paris,

x -2.5 cm.)

Inscribed at l.r.

...

PFl

NTUR

t63

The Museum of Modern

The Child Carburetor. (L'Enfant

York,

November

Art, The Machine, Hulten, ed.,

1968-February

30,

New

1969, p.95

carburateur). c.1919 Literature:

Oil, gilt, pencil

(126.4

and metallic paint on plywood, 49V4 x 39 7 /s"

101.3 cm.)

Inscribed

l.r.

"L'Enfant Carburateur"; elsewhere "Dissolution De Prolongation," "Flux Et Reflux Des Resolutions," "Sphere De La Migraine," "Detruire Le Futur," "Methode Crocodile," "Value En Jaquette" (almost

New York,

l.r.)

Collection

The Solomon

Guggenheim Museum,

New

York Provenance

New York

makes Child Carburetor one of Picabia's

Though

nos.44, 46),

its

reminiscent of his

asymmetrical composition indicates

Child Carburetor

Exhibitions:

Salon d'Automne, Paris,

November i-December

10, 1919,

no.1533 Galerie Povolosky, Picabia, Paris,

December

10-25, 1920,

no. 44

The Museum of Modern Surrealism, Barr, ed.,

Art, Fantastic Art, Dada, and

New York,

pp.195, 257

December

1936-

content

best machinist

work of 1915

(see

a later

date - probably 1919, given the evidence of its first exhibition and the witness of Mine. Everling-Picabia ("C'etait hier

Libres, Paris,

June 1955,

p. 129).

based on an engineer's diagram of an

of a gasoline motor which controls the mixture of gas and air to secure maximum firing of the cylinders. Considered in the context of Duchamp's Large Glass (with its bride that is a kind of "motor" operated by "love gasoline"), Child Carburetor also becomes a love machine whose forms and inscriptions abound in sexual analogies. actual carburetor

Matta, Paris

Art, The Machine, Hulten, ed.,

196S, p.95

Dada," Les Oeuvres

Rose Fried Gallery,

September-December 1966, pp.320-1

A balance ot striking visual properties and suggestive paintings.

obliterated

17, 1937,

New York,

The Museum of Modern

"Francis Picabia";

u.l.

January

Camfield, "The Machinist Style of Francis Picabia," The Art Bulletin,

(fig.

63a), that part

Balance, c.1919

^65

Oil on board, 23-7 s x 17 1 // (60 x 44 cm., frame Inscribed

1.1.

window)

"Picabia"; u.r. "Balance"

Serpentins. c.1919-1922 Oil on wood, 24 x iS" Inscribed

1.1.

"Picabia";

(61 u.l.

x 45.8 cm.) "Serpentins"

Collection Lillian H. Florsheim, Chicago

Collection Gertrude Stein Gallery,

Provenance:

B.C. Holland Gallery, Chicago Everett Ellin Gallery, Los Angeles

Richard Feigcn Gallery, Chicago

New

York

Exhibitions:

Galerie Paul

Though

Balance

springs, circles

me, Pans is

undated,

its

and undulating

Salon d'Automne, Paris,

lines

compatible with other 1

works of c.1919. The concentric circles in the upper right seem relevant to Picabia's watercolor drawings of 1922 dealing with optical and electrical phenomena. also

November l-December

10, 1919,

general inventory of rods, lure are

collection

two is

One in the Matta and more skctchily brushed,

versions of Serpentins.

larger

(32x21

'/ 4 ")

but the two paintings arc otherwise identical in color, composition and inscriptions. Proper identification of these two Serpentins has been accordingly difficult since one of them was first exhibited at the 1919 Salon d'Automne in Paris.

Alarm Clock x 9"

Ink, 121/2

Inscribed

(Reveil matin). 1919

(31.8

23 cm.)

"Francis Picabia";

1.1.

l.r.

"Reveil Matin"

Collection Mrs. Barnett Malbin, Birmingham, Michigan

(The Lydia and Harry Lewis Winston Collection) Provenance: Tristan Tzara Exhibitions:

Detroit Institute of Arts, The Winston Collection, September

27-November

1957

Detroit Institute of Arts, French Drawings and Watercolors,

January 1962

The Museum of Modern

Art, The Machine, Hulten, ed.,

New York, November 30,

1968-February

1969, p. 90

Literature:

Buffet-Picabia, "Memories of Pre-Dada: Picabia and Duchamp," Dada Painters and Poets, Motherwell, ed.,

York, 195 1,

New

266

Arp, Statement in Picabia

Memorium, Orbes,

Paris,

April

20, 1955

Arp never forgot

the Zurich dadaists'

first

meeting with

was dismantling an alarm clock in his hotel room, and they looked on with delight as he dipped parts of the clock into ink, pressed them on a paper and finished the composition by adding a few lines and inscriptions. This drawing was selected as the inner cover for Dada 4-5 (Zurich, May 15, 1919). Picabia (see Literature above). Picabia

Alarm Clock Ink, 13

Inscribed

10" (33 1.1.

II.

(Reveil matin), c.1919

25.5 cm.)

"Reveil Matin"

Collection Prof.

Guido

Rossi,

Milan

Provenance:

Schwarz Gallery, Milan Gabrielle Buffet-Picabia Exhibitions:

Civico Padiglione, Dada

in Italia,

Milan, June 24-September

30, 1966, no. 61

Museum Morsbroich 2,

Leverkusen, Picabia, February 7-April

1967, no. 32

Museum

of Modern Art, Dada, Surrealism and Their Heritage, Rubin ed., New York, March 27-June 9, 1968. This drawing appears to be exactly contemporary in date with Alarm Clock I (110.66). A completely hand-drawn alarm clock composition, signed and dated "Zurich 1918," exists in a Picabia scrapbook (vol.4, P- I2 ) at the Bibliotheque Litteraire Jacques Doucet, Paris.

RE\ eiL

MAT

Tabac-Rat or Dance ot Saint Guy. (Tabac-Rat

Literature:

Notice, L'Eclw dc Paris,

or Dansc dc Saint-Guy), c.1919-1921

December

17, 1921, p.

Prevot, Salon review, Lc Midi, Toulouse, February 19, 1922,

Cord and cardboard within

a frame, 35 7 /s

2'j i li

(91

x 70

cm.)

Charbonnier, Lc Monologue du

Inscribed

1.1.

Peintre, Paris, 1959, p. 136

"Francis Picabia";

Dance

center "Tabac-Rat"; u.l.

P-l

Saint

Guy was

the only unrejected

work among

Picabia's three entries to the 1922 Salon des [ndependants.

Danse de Saint-Guy

Collection Succession Picabia, Paris

was described

in Literature

advance of the Salon

above)

(sec

L'Eclw de Paris

as:

Exhibitions:

Probably the Salon tics Indipendants, Fcbruary 28, 1922, no. 2884

Paris,

January 28-

Galerie Colette Allendy, Picabia, Paris, October 18-

November Galcric

16, 1946, 110.16

Rene Drouin,

jgt, Paris,

March

Galerie Artiste et Artisan, Picabia, Paris,

December4, Musee 110.42

1949, 110.24

November 20-

public gifts in bread crumbs.

1951, no. is

Cantini, Picabia, Marseille,

A frame, - gilded ? one still does not know, - but Behind the trellis, will be fastened on the wall a sheet-iron wheel of a thickness suitable for white mice to activate in the manner of squirrels. Very proud of his painting(?) Mr. Picabia has already informed the Committee that he will post, at his expense, a guard... charged with receiving from the grilled like a cage.

March 20-May

15, 1962,

(Author's translation.)

Subsequent reviews said nothing of the squirrel cage, but a photograph (Fig. 68a) (The Little Review, London, Spring 1922) probably depicts what was exhibited, and a contemporary review identified the inscriptions as "Tabac," "Je me couche" and "Quel beau soleil" (see Prevot in Literatureabove).

Dance of Saint Gny could have been assembled as early as 1919 or 1920, for Breton mentioned a "tableau en cordes" on February 15, 1920 (Sanouillet, Dada a Paris, Paris, 1965, p. 507) and Picabia's stage design for the "Manifestation Dada" in March 1920 (p. 28) seems related to such wire and cardboard constructions. Dance of Saint Gny acquired a new title, Tabac-Rat, by the time of its exhibition at the Galerie Rene Drouin in 1949, and probably acquired a

in a letter to Picabia

new

design then too,

when Picabia

cords (conversation with

Despite these changes in

rearranged the old, loose

Mme. Olga

Picabia in July 1968).

its form, Picabia insisted that TabacCharbonnier in Literature above) be suspended away from the wall to permit movement and transparency to become elements of the work.

Rat

(see

*6$

The Ivy Unique Eunuch.

(Le Lierre unique

eunuque). c.1920 Ripolin on board, 291/2 x 4i 3 /s" (75 x I0 5 cm.) Inscribed

l.r.

"Francis Picabia";

center "Le Lierre Uniquc/Eunuque"; 1.1.

"Machine Co"

Collection

M. von Meyenburg,

Basel

Provenance:

Simone

Collinet, Paris

Exhibitions:

Salon dcs Indipendants, Paris, January 23-February 28, 1921, 110.2764a

The forms

in the composition resemble cells more than machines, though a metallic quality is imparted by the

and schematic drawing. The significance of the title is elusive, but when one is dealing with "girls born without a mother" the notion ot a unique eunuch does not

silvery gray palette

seem

farfetched.

The Dancer Jasmine. (Danseuse Jasmine), c.1920 x

Pencil, io 3 / 4

Inscribed

"Francis Picabia" and "Danseuse Jasmine";

1.1.

l.r.

8'/2" (27.5

21.5 cm.)

"Gnome" and "Gnome";

u.l.

"Olympia"

Lent by Schwarz Gallery, Milan Provenance:

Mme. Simone

Collinet

Exhibitions:

Kunsthalle Bern, Picabia, July 7-September Galleria Schwarz, Picabia, Milan,

May

5-June

Galerie Krugier, Dacia, Geneva, February

1962, 110.23 1,

1964, 110.9

17-March

30, 1966,

no. 61

Civico Padiglione, Dada

in Italia,

Milan, June 24-September

30, 1966, 110.59

Museum Morsbroich Leverkusen,

Picabia,

February 7-April

2, 1967, 110.30

Literature:

Louis Laloy, "L'Antre des Gnomes", Commoedia, July Insight into the intimate relationship of Picabia's art is

provided by

this

and

1920 life

drawing - executed in 1920 rather than

1918 as generally believed. In July 1920, the Olympia Theatre in Paris opened a play entitled L'Antre des Gnomes

with tableaux by Georges Casella and music by Claude Debussy - both friends of Picabia. The principal dancer, the Danseuse Jasmine, was also a good friend, and her role as an evil enchantress had a natural appeal for Picabia.

The Merry Widow. Oil, paper

Inscribed

Veuve joyeuse). 1921

VEuvE "TO'jEUSE

and photograph on canvas, 36>/4 x 28 3 /.i"

x 73 cm.)

(92

l.r.

(La

u.l.

"La Veuve Joyeuse";

"Francis Picabia/1921";

"Photographic" and "Dessin";

photograph signed and dated by

Man Ray, "Man Ray

1921"

Collection Galerie Jean Chauvelin, Paris Provenance: Private Collection, Paris Exhibitions:

Rejected at the Salon des Independants, Paris, January 28-

February 28, 1922, no. 2883 Literature:

Picabia, Letter to editor,

January

New

York Herald Tribune, Paris,

19, 1922, p.

Cogniat, Signac interview, Comoedia, Paris, January 21, 1922 p.2 Picabia, Letter to Signac, Comoedia, Paris, January 23, 1922, P-3

In The Merry Widow, Picabia's naturally sloppy penmanship

and

taste for

impertinence have been raised to a level that

of his Dada work. The title, as usual, Who or what is the "merry widow"? - painting (la peinture)?; photography (la photographie) ?; the machine (la machine) ? The numerous characterizes the best

poses tormenting questions of intent.

possibilities are as delightful as the liberating, anti-art

qualities

of the work

itself.

(9 z\

113

Exhibitions:

Resonator. (Resonateur). c.1922

Galcries

Gouache and ink on composition board, (74

20>/s

x 2i s /g"

x 55 cm.)

Inscribed

l.r.

New York

Dalmau,

December

Hotel Drouot, "Francis Picabia";

u.l.

"Resonateur"

University Art Collection, Gift of Frank

Duchamp

Rose Fried Gallery, J.

Sale, Paris,

Picabia,

New

Rose Fried Gallery, Duchamp ami

December

Bradley

Picabia, Barcelona,

November 18-

1922, 110.16

1953-January

March

1926, no. 24

York, February 1950, Picabia,

New

110.7

York,

1954, 110.5

Provenance:

Resonator

Frank J. Bradley

Rose Fried Gallery, H.

Roche, Paris

Marcel

Duchamp

the artist

device for giving resonance to sounds)

New York

of Picabia's

late

machinist style in both

austere formal properties

and

its

characteristic

Though none of these were

first

late

its

use of new machine sources.

machinist works are dated, they

exhibited in 1922 at the Barcelona gallery of

Dalmau, and Breton wrote in the exhibition catalogue that the works had been few months earlier.

Picabia's friend Jose

preface of that

painted only a

Volucelle

Galleria Schwarz, Picabia, Milan,

c.1922

May

5-June

Galerie Krugier, Dada, Geneva, February

Gouache, 23 5 / 8 x 28 3 / 4 " (60 x 73 cm.) Inscribed

l.r.

"Francis Picabia";

u.l.

1964, no. 13

17-March

30, 1966,

no. 66

Civico Padiglione, Dada

"Volucelle"

Milan, June 24-Septembcr

in Italia,

30, 1966, no. 65

Lent by Schwarz Gallery, Milan

Museum Provenance:

Morsbroich Lcverkusen,

Picabia,

February 7-April

1967, no. 39

Galerie St. Germaine, Paris

Dots and small

Exhibitions:

Hotel Drouot, Galerie

Mona

Duchamp

Sale, Paris,

Lisa, Picabia, Paris,

March

circles are

among

the

most ubiquitous forms

in Picabia's oeuvre. Occasionally they can be identified 8,

1926, no. 70

November-December

no. 23

Hatton Gallery and The Institute of Contemporary Arts, Picabia, London, March-April 1964, no. 24

1961,

(symbols of celestial bodies, points of light and energy, bullet holes), but more often he kept their significance to himself. The asy metrical constellation of colored circles in Volucelle I is a particularly mysterious and austere example of his preoccupation with this form.

Sidney Janis Gallery, Dada,

Tickets, c.1922

New York,

April

15-May

1953, 110.165

Watercolor, 29^4 x 22" (74.5 x 56 cm.) Inscribed

I.e.

"Francis Picabia";

u.l.

Gallcria Schwarz, Picabia, Milan,

"Tickets"

Civico Padiglione, Dada Provenance:

1964, 110.4

17-March

30, 1966,

in Italia,

Milan, June 24-September

30, 1966, no. 54

Mme. Simone P.

5-June

110.55

Lent by Schwarz Gallery, Milan

May

Galerie Krugicr, Dada, Geneva, February

Collinet, Paris

Museum Morsbroich

Roche, Paris

April

Lcvcrkuscn, Picabia, February 7-

1967, 110.20

Duchamp

Marcel

the artist Exhibitions:

Galeries

Dalmau,

Deccmber

Picabia, Barcelona,

November

Hotel Drouot,

Duchamp

Tickets first Sale, Paris,

March

Galerie Artiste et Artisan, Picabia, Paris,

December

18-

1922, no. 15

4, 1951,

no.

Tickets has long been assigned a date of c.1916-20, but no contemporary documents support such attributions. In terms of style and signature, it is far more compatible with the spare compositions of Picabia's "late machinist" phase, and

1926, no. 30

November 20-

where

appeared

that style

the 1922 Galeries

was introduced.

Dalmau

exhibition

Sidney Janis Gallery, Dada, 1953, no.166

Totalizer (Totalisateur). c.1922 Ink and watercolor, 22 x 291/2" (56 x 75 cm.) Inscribed

l.r.

"Francis Picabia";

u.l.

"Totalisateur"

15-May

Civico Padiglione, Dada 30, 1966, no.53

Roche, Paris

May

5-June

1964, no.

17-March

30, 1966,

Museum Morsbroich

Duchamp

April

in Italia,

Milan, June 24-September

Levcrkusen, Picabia, February 7-

1967, 110.19

the artist Exhibitions:

Galeries

Dalmau,

December

Picabia, Barcelona,

November

Duchamp

Sale, Paris,

March

Galerie Artiste et Artisan, Picabia, Paris, 4,

18-

1922, no. 20

Hotel Drouot,

December

no. 54

Mine. Simone Collinet, Paris

Marcel

Galleria Schwarz, Picabia, Milan,

Galerie Krugier, Dada, Geneva, February

Provenance:

April

Galleria Schwarz, Picabia, Milan, July 1-30, i960

Lent by Schwarz Gallery, Milan

New York,

195 1, no.7

1926, 110.31

November 20-

A date of c.1922 is offered for

Totalizer (a pari-mutuel

machine) on the same

and

stylistic

discussed for nos. 72-74.

historical

grounds

Conversation Watcrcolor, 23 Inscribed

l.r.

>/ 2

c.1922

x 28 3 / 8 "

x 72 cm.)

"Francis Picabia";

The Tate

Collection

(60

Gallery,

u.l.

Optophone

"Conversation"

Inscribed

London

l.r.

Provenance:

"Francis Picabia";

Mme. Simone

Exhibitions:

Galerie Artiste et Artisan, Picabia, Paris, 4,

1.1.

"Optophone"

Provenance:

Paris

the artist

Dcccmber

1922

Andre Napier, Neuilly, France

Collection

Mine. Simonc Collinet,

I. c.

Ink and watcrcolor on composition board, 28 3 /s X 23 s /a" (72 x 60 cm.)

November 20-

Mme.

Fernand Leger

Marcel

1951 (not listed in catalogue)

Galerie Furstenberg, Picabia, Paris, June 5-July no. 22

1956,

Collinet, Paris

Roche, Paris

Duchamp

the artist Exhibitions:

Musec d'Art et d'Industrie, Art April-May 1957, no. 50

Abstrait, Saint-Eticnnc,

Galeries

Dalmau,

December

probably Salon

Hatton Gallery and Institute of Contemporary Arts, London, March-April 1964, no. 27

Hotel Drouot,

Picabit

Literature:

Hunt, "The Picabia/Breton Axis," Artforum, September 1966, pp.18, 20

11,

Picabia, Barcelona,

November

18-

1922 (reproduced but not listed in catalogue)

Matthiesen Gallery, Picabia, London, October-November 1959, no. 30

des Indipendants, Paris,

February 10-March

1923,110.3733

Duchamp

Sale, Paris,

March

Galerie Leoncc Rosenberg, Picabia, Paris,

1926, 110.67

December 9-31,

1930, 110.12

New York,

Galerie Colette Allendy, Picabia, Paris, October 18-

Novcmbcr

16, 1946, 110.14

Galerie

Rene Drouin,

Galerie

Mona

4gi, Paris,

March

Lisa, Picabia, Paris,

An optophone is

1949, 110.39

November-December

1961,

no. 22

Musee

Cantini, Picabia, Marseille,

March 20-May

15, 1962,

no.39 Kunsthalle Bern, Picabia, July 7-September Galerie Furstenberg, Picabia, Paris,

1962, no. 35

November 4-December

1964, 110.15

Galerie Krugier, Dada, Geneva, February

17-March

30,

1966, 110.68

The Museum of Modern Heritage, Rubin, ed.,

Art, Dada, Surrealism and Their

New York, March 27-June 9,

1968,

no.269 Literature:

Duchamp, Notes for Hotel Drouot, Duchamp March 8, 1926 (n.p.)

Sale, Paris,

Hunt, "The Picabia/Breton Axis," Artfonmi, September 1966, pp.18, 20

Camfield, "The Machinist Style of Francis Picabia," The Art Bulletin,

New

LeBot, Francis

York, September-December 1966, Picabia, Paris, 1968, p. 184

p. 321

an instrument which converts light variasound variations so that a blind person may estimate varying degrees of light through the ear and actually "read" printed matter. Picabia's Optophone seems to be a comparable instrument that "converts" electrical energy into sexual energy (see p. 35). tions into

t78

Sphinx, c.1922 Ink,

gouache and watcrcolor, 29>/i x 2\

Inscribed

l.r.

"Francis Picabia";

u.l.

\i' (75

54.5 cm.)

"Sphinx"

Menil Family Collection Provenance:

Rose Fried Gallery,

New

York

Exhibitions:

Galcries

Dalmau,

December

Picabia, Barcelona,

1922, 110.28

November

18-

*79

Aviation, c.i 922 Ink and watercolor on board, 29^2 x 21 Inscribed

l.r.

"Francis Picabia";

u.l.

Collection Mr. and Mrs. Bayard

>/ 4

(75

x 54 cm.)

"Aviation"

Ewing

Provenance:

New York New York Castelli Gallery, New York

Parke-Bernet,

Mrs. Henry Epstein,

Leo

Mme. Simone

Collinet, Paris

Andre Breton,

Paris

Exhibitions:

Galeries

Dalmau,

December

Picabia, Barcelona,

November 18-

1922, no.4

Galerie Furstenberg, Picabia, Paris, June 5-July

Goucher College, The January 1963

Epstein Collection,

1956, 110.20

Towson, Maryland,

ESPA&NOLf

^s&tcqAj^ i>^

f8o

-Ou: l 'xx/vCU

Spanish Night. (La Nuit espagnole). 1922

Galerie Artiste et Artisan, Picabia, Paris,

December Ripolin on canvas, 63 x 51" (160 x 129.5 cm.) Inscribed u.l. 1.1.

l.r.

New

York, April 15-May

1953, no. 164

"La Nuit Espagnol"; "Sangre Andaluza"

New

November 20-

195 1, 110.9

Sidney Janis Gallery, Dada,

"Francis Picabi.i";

Private Collection;

Galerie Furstenberg, Picabia, Paris, June 5-July

Exposition Internationale, 50 cms no.254

York

Musee

Provenance:

d'art

Cantini, Picabia, Marseille,

1956, 110.19

modeme, Brussels 1959,

March 20-May

15, 1962,

110.37

Roche, Pans

Marcel

Kunsthalle Bern, Picabia, July 7-Scptembcr

Duchamp

Sidney Janis Gallery,

the artist

New

1962, 110.33

York, January

Literature:

Salon d'Autotnne, Paris,

November

1â&#x20AC;&#x201D;December 17, 1922,

110.1895

Hotel Drouot,

Duchamp

Sale, Paris,

March

Galerie Leoncc Rosenberg, Picabia, Paris,

December 9â&#x20AC;&#x201D;31,

Galerie Colette Allendy, Picabia, Paris, October 16, 1946, no.i

Rene Drouin,

S-

jqi, Paris,

March

Vermcersch, "Salon de Peinture," he Kiveil du Nord,

November

21, 1922, p.i

Sanouillet,

Dada

S, 1926, 110.3S

1930, 110.15

Galerie

Generations,

3-27, 1967

Exhibitions:

Novcmber

Two

1949, 110.29

Mellow,

March

Lille,

a Paris, Paris, 1965, pp.370, 521

"New York

20, 1967, p.59

Letter," Art International, Lugano,

from Breton and Ribemont-Dcssaigncs during August 1922 (Sanouillet, Dada a Paris, Paris, 1965, pp.370, 521) indicate that Spanish Night - first referred to as "1' Amour espagnol" and "Nuit d'amour" - was completed by the end of the summer. When exhibited that fall at the Salon d'Automne, it and a companion piece, Fig Leaf, were hoisted up into the darkest corner of the Grand Palais. Picabia's friend, Pierre de Massot, responded with a vitriolic handbill distributed on the steps of the Salon, but by this date Picabia's practices were no longer shocking, and several hostile critics noted that his audience was less numerous and less amused than before. The imagery, formal properties and sexual content ot Spanish Night (complete with erotic targets and bullet Letters to Picabia

holes) has

made

the painting

interesting for

contempo-

prompting references to Pop Art, hardedge painting, Jasper Johns, Niki de Saint Phallc and others rary viewers,

(Mellow

in Literature above).

&:>::

Animal Trainer. (Drcsseur d'animaux). 1923 Ripolin on canvas, 981/2 x 78 3 //' (250 x 200 cm.) Inscriptions u.l.

l.r.

"Dresseur

"5 Juillet 1937/Francis Picabia";

D'Animaux"

Lent by Galerie Cavalero, Cannes Provenance:

The

artist

Exhibitions:

Salon d'Automne, Paris,

no. 1636

November i-December

16, 1923,

Literature:

Whip, "Au

November

S.ilon 7,

d'Automne," Le Canard Enchatne',

December

Notice. Arlequin, Paris,

The

Paris,

1923. p. 1,

1923

(attrib.)

and presumptuous size of Animal Trainer still smack of Dada, but the provocative contrast of abstract and figurative elements in Picabia's work of 1922 have given way to a figurative style. The long nose of the animal trainer soon became a prominent feature in many paintings of the "monster" period (c. 1923-28), while the academic nude form was revived during the period ot the transparencies (c.1928false date

32).

Plumes, c.1923-1927? Ripolin, feathers, macaroni, cane and corn plasters on canvas, 361/a

x 27'// (91.8 x 69.8 cm.);

in a

dowelled frame,

46 7 / 8 x 30 7 / 8 " (119 x 78.5 cm.) Lent by Schwarz Gallery, Milan Provenance: Galerie Fischer, Paris Exhibitions:

Galerie

Rene Drouin,

491, Paris,

March

1949, no. 32

Kunsthalle Bern, Picabia, July 7-Septcmber Galleria Schwarz, Picabia, Milan,

May

5-June

Galerie Krugier, Dada, Geneva, February

1962, 110.31 1,

1964, no. 12

17-March

30, 1966,

110.67

Civico Padiglione, Dada

in Italia,

Milan, June 24-September

30, 1966, no. 66

Kunsthaus Zurich, Dada, October 8-November

17, 1966,

110.209

Museum Morsbroich

Leverkusen, Picabia, February 7-

April 2, 1967, 110.40 Galleria Civica,

Lc Muse

Inquielanli,

Turin,

November 1967-

January 196S

many of Picabia's so-called "Dada" collages, has an unconventional frame. The earliest document regarding these frames occured with the exhibition ot Lamp (Lampe, Plumes, like

1923, Private Collection,

Independants. as the

The book

London)

at the

1924 Salon

binder, Pierre Lcgrain,

designer of those frames (Charensol,

des

was named

"Au

Salon des

Independants, Dccouvertes," Paris-Journal, February 15, 1924, p. 4),

and numerous documents

attest to his collaboration

with Picabia from then until 1927. The wooden rods in the frame of Pinnies seem related to the glass tubes around Lamp, and the macaroni and feathers in Plumes appear in only one other extant work, Midi (Yale University Art Gallery, Gift of the Collection Societe Anonyme). Though Midi is undated, its mottled snakeskin frame by Legrain suggests a post-1923 date, and it may have appeared publicly for the first time in 1928 at Stieglitz's Intimate Gallery for an exhibition described in the catalogue as "the most recent

works of Francis Picabia"

(110.8 as

"Cadre Mouchete").

Exhibitions:

Reading. (La Lecture), c.1924-1925

Hotel Drouot, Ripolin and drinking straws on canvas,

i 7 /s

cm.)

Signed

26" (81

x 66

December 1.1.

"Francis Picabia"

Duchamp

Sale, Paris,

March

Galerie Artiste et Artisan, Picabia, Paris, 4, 195 1,

1926, no.72

November 20-

no. 24

Galerie Furstenberg, Picabia, Paris, June 5-July

1956, no.27

Collection Prince Igor Troubetzkoy, Paris Reading, securely dated 1924-25, documents the coProvenance: Galerie Furstenberg, Paris Tristan Tzara, Paris

Pierre, Paris

Marcel

Duchamp

the artist

and "Dada" collages. In this instance, a prosaic subject is transformed and almost concealed by Picabia's use of distorted, patterned forms, collage elements and the saturated colors of

existence of Picabia's so-called "monster" paintings

a succulent ripolin paint.

Tooth

Museum Morsbroich

Picks. (Cure-dents), c.1924-1925

April Oil, cord, string, sticks, 31

'/:

and

quill

tooth picks on canvas,

x 17 3 //' (80 x 45 cm.);

in metal

Signed

frame with buttons, 36 '/-i x 28 3 / 4 " (92 x 73 cm.) "Francis Picabia"

l.r.

Levcrkuscn, Picabia, February 7-

1967, 110.37

Kunstvercin, Collagen, Frankfurt, April -May 1968, no.66 Galleria Civica, Lc Muse January 1968, no.78

Inquietanti,

Turin,

November 1967-

Literature:

Lent by Schwarz Gallery, Milan

Meurvillc,

Paris,

May

"Unc Exposition

The Arts, "Paris Postscripts," and August 1925, p. 109

Galerie Fischer, Paris

Jacques Doucct, Paris

LeBot,

Tri-nationale," Gaulois,

31, 1925

Provenance:

New

York, July 1925, pp.5 1-4

Picabia, Paris, 196S, pp. 182-3

Exhibitions: Galleries Durand-Ruel, Tri-National Exhibition, June 1925

Galerie

Rene Drouin,

401, Paris,

March

Galerie Artiste et Artisan, Picabia, Paris,

December

Paris,

May-

1949, 110.25

November 20-

195 1 (not listed in catalogue)

Galleria Schwarz, Picabia, Milan,

May

5-June

Galerie Krugier, Dada, Geneva, February

1964, no. 11

17-March

30, 1966,

110.65

Civico Padiglione, Dada

in Italia,

Milan, June 24-September

30, 1966, 110.64

Kunsthaus Zurich, Dada, October S-November 110.206

17, 1966,

first exhibited in 1925 and Picabia's correspondence at that time with Pierre de Massot, Marius de Zayas and Jacques Doucct (owner of the painting) clearly indicates it was one of his most recent paintings (Bibliotheque Litterairc Jacques Doucet, Picabia Scrapbook, vol.12; pp.22-3 and vol.6, pp. 179-80). Internal evidence supports these documents, for the combination of jaunty collage elements, rich painterly qualities and a Legrain frame is entirely consistent with securely dated collages and "monsters" of this period in the mid-i920s.

Tooth Picks was

Centimeters. (Les Centimetres), c.1924-1925

The Museum Heritage,

Oil, centimeter tape, paper

x i5

Signed

"Francis Picabia"

l.r.

/Âť" (5*>

x 39

matches and matchbox covers on

canvas, 22

Rubin,

Modern ed.,

Art, Dada, Surrealism and Their

New York,

March 27-Junc

1968,

no. 264 Literature:

LeBot,

Picabia, Paris, 1968, pp. 182-3

Lent by Schwarz Gallery, Milan Neither the date nor the Provenance:

Mme. Olga

Though

Rene Drouin,

491, Paris,

March

1949, 110.26

Art, The Art of Assemblage, Seitz, October 2-November 12, 1961, no. 164

Galleria Schwarz, Picabia, Milan,

May

5-June

Galerie Krugier, Dada, Geneva, February

1964, no. 10

17-March

conjunction with paint and matches it

suggests a tree or a firey eruption.

(deliberate?)

Civico Padiglione, Dada 30, 1966, no. 60

in Italia,

Milan, June 24-September

Kunsthaus Zurich, Dada, October 8-November no. 202

Museum Morsbroich 1967, 110.29

its

formal

Dada-like collage securely attributable to c.1925. The broken centimeter tape calls to mind Duchamp's Three Standard Stoppages, but Picabia has arranged it so that, in

30, 1966,

no. 62

documented.

combined with a painterly application of oil are most compatible with such works as Tooth Picks (no. 84). And, as noted in the text (p. 36), eleven centimeters of tape missing from this collage seem to have been used for a nose in Portrait (tig. 19), another

The Museum of Modern

New York,

pigments -

Galleria Schwarz, Picabia, Milan, July 1-30, i960

ed.,

of Centimeters

properties - collage elements

Picabia, Paris

Exhibitions:

Galerie

title

habitually attributed to 1918 or 1920,

Leverkusen, Picabia, February 7-April

which make

fire),

the confusion

of any such simple reading of the composition,

Picabia has scratched radiating "suns" in the white field at

the 17, 1966,

(sticks

bottom of the

painting.

Woman

with Monocle. (La

Femme

Matthicscn Gallery, Picabia, London, October-November

1959, 110.33

monocle), c.1924-1926

Mona

Galerie

Oil on board, 41

Signed

1.1.

x 29

/:" (105.5

Lisa, Picabia, Paris,

November-December

1961,

110.24

x 75 cm.)

Musee

"Francis Picabia"

Cantini, Picabia, Marseille,

March 20-May

15, 1962,

110.44

Collection

Simonc

Collinct, Paris

Hatton Gallery and Institute of Contemporary Arts, London, March-April 1964, 110.30

Provenance:

Andre Breton,

Galerie Furstenbcrg, Picabia, Paris,

Paris

November 4-December

Mine. Gabricllc Buffet-Pi cabia, Paris

1964, 110.17

Exhibitions:

Kunsthaus Zurich, Dada, October S-November no.216

Galerie Artiste et Artisan, Picahia, Paris,

December

November 20-

195 1, no.

Galerie Furstenbcrg, Picabia, Paris, June 5-July

Museum Morsbroich April

Picabia,

17, 1966,

Leverkusen, Picabia, February 7-

1967, 110.42

1956, 110.29 Literature:

Kunsthallc Diisscldorf, Dada, September 5-October 19, 1958, 110.203

Jean, Tlie History of Surrealist Painting, 45-

London, i960, pp. 144-

Sibyl. (Previously referred to as Faun).

The

figure in this painting should probably be identified as a of a faun. Other paintings of the same theme and date are clearly based on sibyls and ignudi in Michelangelo's Sistine Chapel ceiling fresco (see Fantastic Nude, Collection Musee National d'Art Moderne, Paris, and Fourfooted Person, formerly Collection Simone Collinet, Paris). The Schwarz Gallery Sibyl looks like a composite of several figures instead of an adaptation of one model from Michelangelo, however, the book in the upper left indicates sibyl instead

c.1924-1927 Gouache, 41 x 26 3 /s" (104 x 67 cm.) Signed

1.1.

"Francis Picabia"

Lent by Schwarz Gallery, Milan Provenance:

Paolo Marinotti

a sibyl.

Exhibitions:

Stadtische Kunsthalle, Signale-Manifeste-Proteste, Reckling-

hausen, June-July 1965, no. 70

Museum Morsbroich April

1967, no. 47

Leverkusen, Picabia, February 7-

Idyll. (Idyllc).

c.1924-1927

Exhibitions:

Galerie

Gouache on board,

Not

29'/: x 41 '//' (75 x 105.4 cm.)

signed or dated

Collection

Simone

Collinet, Paris

Rene Drouin,

491, Paris, 1949, 110.46

Galerie Artiste et Artisan, Picabia, Paris,

Decembcr

195

November 20-

no. 20

Galerie Furstenberg, Picabia, Paris, June 5-July

1956, 110.35

Matthiesen Gallery, Picabia, London, October-November,

Provenance:

1959, 110.41

Mine. Gabrielle Butfet-Picabia, Paris Galerie

Andre Breton,

Paris

Mona

Lisa, Picabia, Paris,

November-December

1961,

110.28

Hatton Gallery and Institute of Contemporary Arts, London, March-April 1964, 110.32 Galerie Furstenberg, Picabia, Paris, 5,

Picabia,

November 4-Deccmbcr

1964, 110.18

Museum Morsbroich April

Leverkusen, Picabia, February 7-

1967, 110.43

This traditional theme of seated and reclining figures suggests the possibility of a specific (though undiscovered) source in past art - perhaps even a pietii scene at odds with the title now accorded this painting.

Idyll. (Idylle).

Oil on wood, 41

Signed

1.1.

Upon moving

c.1924-1927 >/ 2

x 29 // (105.4 x 75 1

"Francis Picabia"

Collection

Musee de Peinture

Provenance:

Jacques Doucet, Paris Exhibitions:

Kunsthaus Zurich, 1946

de Sculpture, Grenoble

to the

Midi

in 1925, Picabia

exchanged the

polemics and projects of his life in Paris for an idyllic life devoted to painting, puttering around a sprawling chateau

of his design, and playing at the beach, night clubs and casinos of Cannes. In spontaneous celebration of this life, he turned to the theme of amorous couples, painting dozens of them from about 1924-28 in many varieties of the "monster" style. Idyll is a sentimental post-card composition of young lovers which Picabia has modified to his own ends. Double lines within the man's head are stylized signs of movement, while the multiple eyes, noses and mouths of his sweetheart seem to be simple - and frustrating - devices to achieve of simultaneity and coyness. Picabia has also employed technique of partial transparency to underscore the male-

effects a

female theme, associating woman with the sea and man with mountains, towers and buildings. This technique of transparency further recommends a relatively late date for Idyll perhaps c.1927 - and prepares one for Picabia's next major period of the "Transparencies."

Picabia's

Toreador. 0.1927-1928

numerous paintings of toreadors preclude

identification of this

Watcrcolor, 29 Inscribed

1.1.

x 21

'/:" (75

"Francis Picabia";

Private collection, Paris

Provenance:

Mme.

Allendy, Paris

x 55 cm.) u.l.

"Toreador"

indicates a date

work

in early exhibitions,

positive

but the style

of c.1927-28, on the watershed between the

periods ot the "monsters" and the "transparencies."

The

Romanesque-inspired horned beast is typical of the last phase of the "monsters," while multiple layers of transparent forms are characteristic of the "transparencies." Like many paintings of this phase, Toreador is an awkward work, apparently lacking both visual and thematic unity. Content, however, was foremost in Picabia's mind, and Toreador provides a personal memento of his experience of Spain - beautiful women (pious and otherwise), the Church, toreadors and bullfighting. The interrelationship of these subjects is underscored by the horned beast - simultaneously associated with the toreador and with the Church as one of the four living beasts, the ox symbol of St. Luke. Picabia's concerns also justify viewing Toreador in terms of such broader themes as man and woman, man and beast, Christianity and paganism, life and death.

The Shadow. (L'Ombre). c.1927-1928 Gouache and cellophane on board, 41

i^'j/' (105.5

x 75

cm.)

Signed

I.r.

"Francis Picabia"

Collection: Pedro Vallenilla Echeverria, Caracas

Provenance: Galerie d'Elysee, Paris Exhibitions:

Galerie Th. Briant, Picabia, Paris, October

26-November

15,

1928, 110.3

Galerie Leonce Rosenberg, Picabia, Paris,

December

9-31,

1930, no.25

Musee

Cantini, Picabia, Marseille,

March 20-May

15, 1962,

no.50 Literature:

Jean, The History of Surrealism,

London, i960,

p. 144

Blue cellophane used for the butterfly and the shadow of the cowering man provides a direct means of transparency, and recalls Picabia's works of the early 1920s like (Spanish Night, no. 80) which manipulate simplified, classicistic figures for psychological and formal contrasts.

Luscunia. c.1929 Oil on canvas, 57 7 /s x 54>/ 4 " (147 x 138 cm.) Inscribed

I.e.

"Francis Picabia"; u.r. "Luscunia"

Lent by Galeric Henri Benezit, Paris Provenance:

Leonce Rosenberg, Paris

134

Manucode. c.1929 Oil on canvas, 39 3 / 8 Inscribed

l.r.

x 31V4"

Exhibitions:

(100

"Francis Picabia";

x 81 cm.)

u.l.

"Manucode"

Galerie Colette Allendy, Picabia, Paris, Galerie

Rene Drouin,

Galerie

Mona

Collection Patrick Bailly-Cowell, Paris

110.38

Provenance:

Musee

Mine. Bailly-Cowell

110.51

the

artist

March

Lisa, Picabia, Paris,

Cantini, Picabia, Marseille,

May

30-June 23, 1947

1949, 110.52

November-December March 20-May

1961,

15, 1962,

is dominated by a bird, a head and a creamy heart-shaped form. was given by Picabia to his daughter Jeanine for her six-

Manucode

bird of paradise)

Botticelli-inspired It

491, Paris,

teenth birthday.

94 Acllo. c.1930 Oil on canvas, 66'/: x 66<li" (169 x 169 cm.) Inscribed

l.r.

"Francis Picabia";

u.l.

"Acllo"

Collection Robert Lcbcl, Paris Provenance:

Exhibitions: III,

Picabia,

Cannes, August 1930 (not

listed in the catalogue)

Museum voor 1964, 110.216

136

Francesca's Baptism of Christ. Whether or not Picabia intended a comparison of Christian angels with the harpies (filthy, ravenous bird-women that carried away the souls ot the dead) is unknown, but many of his transparencies do play

on the

Lconce Rosenberg, Paris

Galeric Alexandre

If there does not appear to be a relationship between Aello and the Harpy of the same name, it may be attributed to Picabia's visual source - two of the angels in Piero della

schone Kunsten, Figuratie Defiguratie, Gent,

reversal of Christian

and pagan forms and content.

t95

Portrait,

193 8-1939

Oil on board, 241/2 x 20 l j t " (62.2 x 52.7 cm.)

Signed

l.r.

Collection

"Picabia"

Mme. Romain,

Paris

Provenance:

The

artist

Exhibitions:

Musee

Cantini, Picabia, Marseille,

March 20-May

15, 1962,

110.60

While experimenting with

abstraction again during 1937-39,

Picabia produced a handful of distinctive paintings that

combine hard-edge, abstract color planes with preoccupations of older vintage - transparency, superimposition and sultry female visages.

*g6

Abstract Composition. 1937 Gouache,

'/:

Signed and dated Collection Dr.

i5 3 /Âť" l.r.

(

x 39 cm.)

"Francis Picabia 1937"

Max H.

Welti, Zurich

Provenance:

Unknown Exhibitions:

Kunsthalle Bern, Picabia, July 7-September

Kunsthaus Zurich, Exposition "Spectrum

Parbe,"

tier

1962, 110.37

March 9-

April 23, 1967

t97

7091.C.1938-1939 Oil on board, 23'/* x io'// (59.8 x 49 cm.) Inscribed

1.1.

"Francis Picabia"; u.r. "7091"

Collection Mine. Romain, Paris Provenance:

The

artist

Exhibitions:

Musee

Cantini, Picabia, Marseille,

March 20-May

15, 1962,

no. 61 Picabia's brightly-colored, abstract interlace paintings

were

hardly novel in French art of the 1930s and probably reflect

renewed contact with major

abstract artists in Paris

whom he

joined in signing the 1937 Manifesto of Dimensionism (see f.n.85). Nevertheless, they are engaging compositions particularly fresh alongside his heavy, figurative paintings of

the late 1930s - and lost

it is

during the Second

regrettable that

most of them were

World War.

Tl <X *> C 5 i

138

The Sun

in Painting. (Le Soleil dans la

peinture). 1945 Oil on composition board, i7'/2 x H'/s" (44-5 x 36.5 cm.)

Signed

1.1.

"Francis Picabia"; reverse (probably not in

Picabia's hand) "Lc soleil dans la peinture 1945"

OerYentliche Kunstsammlung,

Kunstmuseum

Basel, Gift of

Marguerite Arp-Hagenbach. 1968 Provenance:

Jean (Hans) Arp Exhibitions:

Kunstmuseum Basel, Sammlung Marguerite Arp-Hagenbach, November 4, 1967-January 7, 1968, no. 242

The Dove of Peace. Oil on wood, 33

Signed and dated

'/s

1.1.

(La

26-'/ 4 "

Paloma de

(84

la Paz).

x 68 cm.)

"Francis Picabia 1946"

Collection Jacques Tronche, Paris Provenance:

Mine. Olga Picabia, Paris Exhibitions:

Galerie

Rene Drouin,

491, Paris,

March

1949, no. S3

1946

ioo

Kalinga. c.1946 Oil on wood, 58 s / 8 x 37 3 /s" (149 x 95 cm.) Inscribed

1.1.

"Picabia";

l.r.

"Kalinga"

Collection Succession Picabia, Paris Provenance:

The

artist

Exhibitions:

Salon dcs Suriudependants, Paris, October 1946 Galerie Rene Drouin, 401, Paris, March 1949, no.in

ioi

The "Bal Negre" had no organized

Bal Negre. 1947

floor

show and master of

ceremonies, but a fascinating clientele, the best of popular

Oil on wood, 59 Inscribed u.c.

l.r.

x 43

//' (152

no cm.)

music and lively amateur dancing made it Picabia's favorite Simonc dc Beauvoir, Georges

night club. Jacques Prevert,

"Francis Picabia 1947";

Auric and

"Bal Negre"

many of the

Collection Succession Picabia, Paris Provenance:

The

artist

Exhibitions:

Galerie Apollo, Picabia, Brussels, October

18-November

1950, no. 10

Musec

Cantini, Picabia, Marseille,

March 20-May

no.63 Literature:

Sanouillet, Picabia, Paris, 1964, pp. 59-60

Surrealists gathered there (Sanouillet,

Picabia's habitual companions were his wife, Jean Van Heeckeren, Jacques-Henri Levesque, Michel Perrin, the Goetzes and others. see Literature above),

15, 1962,

though

102

Aroma, c.1947 Oil on board, 33 Inscribed

x 27'//

(85

x 70 cm.)

bottom "Picabia";

1.1.

"Aroma"

>/?

Lent by Schwarz Gallery, Milan Provenance:

Mme. Olga

Picabia

Exhibitions:

Salon des Realites Nouvelles, Paris, 1947

Matthiesen Gallery, Picabia, London, October-November 1959, no. 53 Galleria Schwarz, Picabia, Milan,

May

5-June

1964 (not

in catalogue)

Museum Morsbroich April

1967, no.73

Leverkusen, Picabia, February 7-

103

Danger of Force. (Danger de

Force).

1947-1950 Oil on composition board, 45^4 x 34 5 /Âť" (115 x 88 cm.)

Signed and dated

l.r.

"Francis Picabia 1947-50"

Collection Succession Picabia, Paris Provenance:

The

artist

Exhibitions:

Galcric Apollo, Picabia, Brussels, October

18-November

1950, no. 1

Muscc no.67

144

Cantini, Picabia, Marseille,

March 20-May

15, 1962,

Documents

fill

391,

1920 Letters

104

C.211/2X 141/2"

Collection Mr. and Mrs. Leonard

10 Letters

M. Brown,

Springfield,

M. Brown,

Springfield,

Massachusetts

1946-195

flI2

11x8" each

391,

1920

Henri Goetz and Christine Boumeester, Paris

C.23

Magazines

'/4

121/2

Collection Mr. and Mrs. Leonard

Massachusetts j-105

291,

1915 1

Poems x

1/2

i2'/ 2

113

Lent by The Metropolitan Museum of Art Library. Gift of Alfred Stieglitz, 1916

fl06

291,

1917 9 1 /* x 91/2"

5-6

Collection Olga Picabia, Paris

1915 x

i7'/ 4

Cinquante-deux Mirrors

1 1 1/4'

114

Lent by The Metropolitan Museum of Art Library. Gift of Alfred Stieglitz, 1916

L' Athlete des

9'h~

fi07

Pompes Funebrcs

1918

Dada 4-5 (Anthologie Dada)

Collection Olga Picabia, Paris

1919 11

f 115

171/2"

Collection Mr. and Mrs. Leonard

M. Brown,

draft

from L'Athlete

des

Pompes Funebrcs

1918 (unpublished)

Springfield,

Massachusetts c.i 1

f 108-aDadaphone

(DADA #

81/2"

March 1920 116 101/2x71/2"

each

Andre Benoit,

Pierre 7)

L'llot

Ales, France

dc Beau Sejour dans...

191

Collection Mr. and Mrs. Leonard

M. Brown,

Springfield,

7 x 4 V/

Massachusetts

Collection Olga Picabia, Paris

108-bDadaphone

(DADA # 7)

March 1920

Poemes

Dessins de

la Fille

nee sans Merc

1918, April

101/2x71/2" Collection Mr. and Mrs. Arthur A. Cohen,

New York

91/2x61// Collection Mr. and Mrs. Arthur A. Cohen,

109

Cannibale,

1920 9'/2

118

Collection

Ratehiers Platoniques

1918

x61 /4"

The Solomon

Guggenheim Museum,

New

81/4x8'//

York Collection Olga Picabia, Paris

Cannibale,

#2 1

1920

Pensees sans Langage

1919 Collection

York

The Solomon

Guggenheim Museum,

New

Collection Olga Picabia, Paris

New York

120

I2i

Ron-Ron

Poesie

Trahis Par.

1953

71/4x45/4"

63/ 4

Collection Olga Picabia, Paris

Jesus-Christ Rastaquouerc

132

1920 9 x

x 4 // 1

Domain Dimanchc '954

6'/ 2

Collection Olga Picabia, Paris

Collection Mr. and Mrs. Arthur A. Cohen,

New

York 133

123

Nc Sommcs Nous

1919

Unique Eunuquc

Poemes dc Dingalari 1955

1920 8*/.xs'/i* Collection Olga Picabia, Paris

7 /4X5'/4" !

Collection Mr. and Mrs. Arthur A. Cohen,

New

York 134

124

Chi-Lo-Sa

Laissez

1950 1

X 10"

12'/:

Debordcr

Hasard

1962 9"

'Ax

Collection Olga Picabia, Paris

Collection Olga Picabia, Paris "("135

"[125

draft

of Lc Moindrc Effort

poem

Verite and drawing

(unpublished)

1950 (unpublished) c.i

Pierre

126

Andre Bcnoit,

Ales, France

x8'/ 2

Pierre

Andre Benoit,

Ales, France

Le Moindre Effort Miscellaneous

1950 3'/:x6"

"[136

Funny Guy

Collection Olga Picabia, Paris

1921

127

Pour

Contrc

Handbill

1950

Collection Mr. and Mrs. Leonard

M. Brown,

Springfield,

Massachusetts 5'/ÂŤx3'/.' Collection Olga Picabia, Paris

128

137

for Rclachc

14 x 10"

195 5

Program 1924

Lc Saint Masque

Collection Olga Picabia, Paris

x 5"

Collection Olga Picabia, Paris

138

129

I9S2 II

Fleur

Montrcc

1952 6>/4

x 43//

Collection Olga Picabia, Paris

146

les

Borgnes

Scenario tor film 11

S'/j"

x 9"

Collection Mr. and Mrs. Arthur A. Cohen,

Collection Olga Picabia, Paris

130

La Lai D' Accomodations chez 1928

591

139

Picabia

by Edouard Andre

1908 10 x 81/4"

Lent by Weyhc Gallery,

New York

13 5

Chronology

1879

Born on or about January 22 in te

1886

Paris to Francisco Vicen-

Martinez Picabia and Marie Cecile Davanne.

Mother

died. Picabia raised in an affluent

his father, uncle, grandfather

household by

and servants.

1888- Rebellious student at the College Stanislas and the Lycee 1895 Monge, but won prize for drawing. Father remarried in 1889.

1895

Entered the Ecole des Arts Decoratifs

1899

Began

to exhibit at the conservative Salon des Artistes

Hum-

Resumed

Francais.

bert, Charles

art studies under Ferdinand Wallet and Fernand Cormon.

1902

Met Georges and Rodo (Manzana) Pissarro who introduced him to their father. Picabia's first Impressionist

1903

Began to exhibit Impressionist paintings d'Automne and Salon des Independants.

1905

First

paintings

done in the winter 1902-03.

one-man exhibition

at the

the fashionable

Salon

Galerie

Haussmann. 1905- Picabia became a well-known Impressionist, but his 1908 aesthetic concerns were based on late 19th-century concepts of "correspondance." 1908

music student, Gabrielle Buffet, who shared his of correspondance. Picabia began to paint in the manner of Neo-Impressionism and Fauvism.

Met

interest in the theory

1909

Married Gabrielle Buffet. Four children born to them

from 1910-19. 1909- Picabia sought a personal expression in manners related to Fauvism, Cubism and abstract art. Associated with 191 the Societe Normande de Pcinture Moderne and with many avant-garde artists in Paris. Friendship with Du-

champ. 1912

Developed a personal (an increasingly abstract) blend of Cubism and Fauvism motivated by a desire to express internal states of the

mind

or emotions. Friendship with

Apollinaire and an influential role in both

La Section d'Or. 191

Visited

New

First totally abstract

York

for the

Orphism and

work.

Armory Show and became

the spokesman for "extremist"

art.

Stimulating friend-

ship with Alfred Stieglitz and Marius de Zayas.

One-man

exhibition at "291."

1913- Masterpieces of abstract "psychological" studies as Pica1914 bia called them - Udnie, Edtaonisl, I Sec Again in Memory My Dear Udnie and others. Drafted after declaration of war in August. 191

Sent on an army supply mission to the Caribbean. Abandoned mission to join the activities around "291" and

Duchamp

New

mechanomorphic

York. Beginning of the machinist or period.

Poorly documented period of voyages with Gabrielle 1915- between New York, the Caribbean and Barcelona. Spells 1916 of neurasthenia. First serious efforts to write poetry.

late

Settled in Barcelona. Fall 1916.

1917

Began publication of jgi

in January.

Went to New York

Returned to Barcelona in September. Published volume of poetry, Cinqiiante-detix miroirs. Went to

in April. first

Paris in

November. Met Germaine

Everling.

ly i S

Sought

rest in S\\ itzerland

from the chaos

of his perso-

1926

but published several volumes of poetry. Tzara wrote Picabia in August. nal affairs. Painted

Duchamp

Hotel Drouot of So works by Picaa celebrity in Cannes and a legend in Paris. Chateau de Mai a popular stop for old friends from Paris. "Monsters' and Spanish subjects sale at the

gradually became

bia. Picabia

little

1919

Picabia and Gabrielle stayed daists in

two weeks with

the

Da-

Zurich. Returned to Paris in March. Contact

with Duchamp and Ribemont-Dessaignes. Began to with Germanic Evcrling. Created a Dada-like scandal at the Salon d'Automnc with his paintings and _jpi.

1928

live

1920

Tzara, Breton, Picabia and associates unite in January to

open

Dada season

exhibitions,

in Paris. Proliferation

books, magazines and

of spectacles,

articles.

Picabia's

new

journal, Cannibale, and the first exhibition of his central to Dada - The Double World, The Blessed I 'irgin and Portrait of Cezanne - Rembrandt -

works most Renoir.

Conflicts

among

Picabia and Breton resume contact, but in

May,

Picabia

severed relationships with both Breton and Tzara, and

denounced Dada. Tit-for-tat polemical publications. Picabia began steady contributions to Parisian newspapers. Scandal created at Salon d'Automne by Picabia's Cacodylic Eye and Hot Eyes. 1922

Exhibition

Salon des Indcpendants a climax for Picabia's

Dada

the

"Transparencies."

1930

Leonce Rosenberg became

Picabia's chief dealer.

1930- Transparencies evolved toward simplified naturalism. Olga Mohler became Picabia's companion. Accelerated 1933 purchase of automobiles and yachts. Life in the Chateau de Mai abandoned for yachts and frequent trips to Paris. Friendship with Gertrude Stein. Legion of Honor, 1933. 1935- Variety of styles: simplified naturalistic figures, superim1939 positions, landscapes reminiscent of Impressionist and Fauve paintings of c. 1907-09. Essays in abstract art, 1937-39- Leisurely life on yacht in Golfe Juan and frequent trips to Paris.

1940- Married Olga in 1940. Residence shifted around the Midi during the war. Style of living much reduced. 1945 Friendship with the Goetzs and the Romains. Painting

dominated by heavy-handed realism.

1923- Beginning of documents on the so-called "Dada colla1924 ges" and the "Monster" style.

Attacked Breton and Surrealism in new issues of 591. Offered an antidote (Instantaneism) in the film Entr'acte (Rene Clair collaboration) and the ballet Reidche produced by the Swedish Ballet. Cinesketch, December 24.

1945

Returned to Paris and settled in the old family home. Resumption of abstract painting and poetry.

1947- Exhibitions, interviews, articles and publications of 1949 poetry reached a climax with the large retrospective exhibition in March 1949 at the Galerie Rene Drouin. 1949

Abstract paintings of dots ("les points") on color Pierre bia's

Mai in Mougins and began idyllic life Olga Mohler hired as a governess for Picason by Germainc.

Picabia's indiffer-

ence to nationalist, patriotic concerns offended both the French and Germans.

activity in Paris.

148

Galerie Theophile Briant (Paris, October)

art.

of Breton's Congress of Paris. Galerie Dalmau exhibition (Barcelona, November) introduced "late machinist" style and resumption of figurative art. Moved to suburban Trcmblay-sur-Mauldre, reducing

1925

work.

marked end of the "Monsters" and beginning of

Sarcastic support

1924

his

the Dadaists. Picabia - Breton fission

in August. 1

dominated

fields.

Andre Bcnoit (PAB) began publication of Pica-

poems.

Built Chateau de in the Midi.

1951- Old age and

bia's

1953

November

illness

30, 1953.

precluded

further work.

Died

Bibliography This bibliography contains

and

references cited in the catalogue

all

of other sources relevant to the study of Picabia.

a selection

Like previous Picabia bibliographies,

on the

extensively

it relies

Dossiers Picabia (Bibliotheque Litteraire Jacques Doucet, Paris) -

photographs and drawings collected by Picabia from c. 1904-1927. However, dates attributed to clippings in these scrapbooks are not reliable, and in any instance where this author has not verified a source given in them, it is attributed to the Dossier Picabia (abbr. D.P.).

of clippings,

scrapbooks

thirteen

letters,

Picabia

Writings

"Preface." Picabia Exhibition at the Little Gallery of the

Photo-Secession [291]. New York, March 17-April 5, 1913. For other prefaces, poems and statements by Picabia in exhibition catalogues, see exhibition list.

"Que

tu 291 ?"

fais

New

Camera Work.

York, no.47, July

1914, p.72.

Statement. 291.

New York, no. 12,

"Une

"Plafonds creux," and

Rongwrong.

New York,

February 1916, n.p.

New York,

"Medusa." The Blind Man.

110.2,

May

nuit Chinoise a

1917.

New

York."

1917.

Cinquante-deux miroirs: 1914-1917. Barcelona, O. de Vilanova, October 1917. Poetnes

Dessins de

la Jille

nee sans mere. Lausanne, Impri-

meries Reunies, S.A., 1918. L'llot de bean sejonr dans

canton de nndite. Lausanne, June 23,

1918.

L'Athlete des pompes junebres. Begnins,

November

December

Rateliers platoniqncs. Lausanne,

24, 1918.

15, 1918.

"Salive americaine," "G. Apollinaire." Dada. Zurich, 110.3,

December

191S.

"Etang m'a emporte au Chili...", "Soleil sage-femme." Dada. Zurich, no. 4-5, 1919. Poesie ron-ron. Lausanne, February 24, 1919.

Pensees sans langagc. Paris,

Preface

Unique Eumique. Paris, Preface

Eugene

Figuiere,

April 1919.

by Udnie.

Sans Pareil, February 20, 1920.

by Tristan Tzara.

"Papa fais-moi peur."

Litteratnre.

Paris,

no. 12, February

1920, p.2.

"Le Rat

circulaire." Proverbe. Paris, 110.1,

February 1920.

"Poeme," "Un peu tordu" and extract from Pensees langage. Die Schammade, Cologne, February 1920.

sans

"Manifeste cannibale Dada" and aphorisms. Dada. Paris, 110.7

[Dadaphone], March 1920.

voix basse: Pensez-vous

no. 2,

March

l'honnetete?" Proverbe. Paris,

1920.

"Dada philosophe."

Litteratnre.

Paris,

no. 13,

May

1920,

pp. 5-6; "L'Art," pp. 12-13.

"La Jeune

fille,"

"Bracelet de

mots." Proverbe. Paris,

110.4,

la vie,"

May

1920.

"Machine de bons

"Le

Mai."

ler

Littiraturt. Paris, 110.14,

June 1920, pp. 26-28.

"La bonne peinture." L'Ere Nouvtllt.

"Souvenirs sur Leninc. Le

Ribemont-I )essaignes.

cubiste." L'Eclair. Paris,

"A Madame Rachilde," "Manifeste cannibale Dada", stamme von javanern." Dada Almanack. Berlin, 1920.

"Ich

"Manifeste cannibale Dada," "A voix basse: Pcnsez-vous rhonnctetcV aphorisms. Der Dada. Berlin, 110.3, 1920. 'it ties

"Zona." La

Lettrts. Paris,

des Lettrts. Paris, July 1921.

I 'it

May

11,

"Pourquoi nous avons

Paris,

Sep-

September

"Un

New

"Almanack." The

York Herald. Paris, July 12, 1921

tuberculose." Comotdia. Paris, August

"Histoire de voir." Litterature. Paris, 2111c serie, no.6, 1,

p. 20;

Little

Review. London and

New

York,

1921, pp. 12-14.

"Bonheur moral

bonheur physique." Ca

November

Antwerp,

Ira.

Novem-

1922, p. 17; "Condoleances," p. 19; "Pithecomorph.es,"

"Samedi

soir," p. 24.

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1920, pp. 216-37.

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February 1916.

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New

p. 8.

Francis

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Moods." Monte-

9 2 7, pp. 296-304.

Tristan Tzara. "Pic (3f9pl) bia." Litterature. Paris, no. 10,

of published and unpublished material including the Dossiers

and correspondence by Jacques Doucet, Marcel Pierre de Massot, Georges Ribeniont-Dessaignes, Georges Herbiet [Christian], and many others.

Le Reveil du Mini.

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Everling-Picabia and Mariane de Rochgau. L'Anneau de Saturne. Preface by Jean Cocteau. Unpublished manuscript signed July 1953.

Henri Goetz and Christine Boumeester. Numerous and some drawings by Picabia, c. 1945-195 1.

1919, p. 28.

Tristan Tzara. Le coeur a Barbe. Paris, April 1922.

November

Bibliotheque Nationale.

Bibliotheque Litteraire Jacques Doucet. Outstanding collection

Picabia

Temps meles. Parade pour Picabia-Pausaers. gium, March 21, 1958. Homages by multiple vol.i, 110.3,

Scrapbook of the Congress of Paris. Letters, clippings and manuscripts collected by Andre Breton. Paris, Manuscript

Room,

De Trey and

1921-22. Dentistry booklet modified by Picabia, Collec-

Glauco Viazzi.

1915-110. 12,

Stieglitz.

1937.

Suprimatie Commercialc. London,

December

Directed by Alfred

IV. Unpublished sources

The Sun. "What is Happening York, January 23, 1916, sect. 5,

Monaco,

Rongwrong. Edited by Marcel Duchamp.

110.2,

1937, pp. 25-28.

Random House,

Lille,

York, nos.1-5, Spring 1937-1939.

p. 308.

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Philippe

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291.

Maeght, 1950,

Sirato.

Summer,

and

15, 1929-

1965.

tion

Soupault, Eds. Paris, Plastique. Paris

Andre Breton March 1919-Junc 1924.

Aragon,

Louis

Litterature.

van Hecckeren.

Jean

Picabia,

I'imprevisible.

text dated "Spring 1939"; appendix dated

21, 1922, p.i.

Entr'acte.

Milan, Poligono Societa Editriee

letters

Unpublished

"March 1947."

Jean van Hecckeren. Picabia nom magiquc. Unpublished manuscript signed and dated Paris, February 1948.

in Milano, 1945.

Berthe Weill. Pan!

dans

I'OeiU...

Libraine

Paris,

Lip-

schutz, 1933.

Whip. "Au Salon d'Automne." Le Canard

November F.

Will-Levaillant. "Picabia et

straction."

Enchainc. Paris,

1923, p. 4.

Revue

New York,

The World.

New

Francis Picabia.

Olga la

machine: symbole

et ab-

February

Picabia.

quart de sieclc avec Picabia.

Unpublished

manuscript covering the years 1925-1953.

Olga Picabia Scrapbook. One volume of clippings, photographs and unpublished manuscripts.

de Vart. Paris, 110.4, 1969, pp. 74-82.

The World.

Mabel Dodge Luhan Archives, Yale Collection of American Yale University, New Haven, Connecticut. Scrapbooks containing clippings and miscellaneous data on Literature,

17, 1913, p. 16.

Dossiers Picabia. Thirteen scrapbooks of clippings, letters,

York, March 23, 1913.

photographs and drawings collected by Francis Picabia

from c.1904-1927.

Paris,

Bibliotheque

Litteraire Jacques

Doucet. III.

Collection of the Societe

Magazines Camera Work. Alfred Stieglitz, Ed. January 1903 - vol.50, June 1917.

New

York,

vol.l,

Dada. Tristan Tzara, Ed. Zurich and Paris, no. 1, July 1917 110.7, March 1920. Dada au grand air sometimes considered

Dada

no.8.

Dada

au grand

Hans Arp and Max Ernst, of Paul Eluard, Theodore Fraenkel,

Tristan Tzara,

Eds. with participation

G. Ribeniont-Dessaignes and Philippe Soupault. Tarrenz B. Imst., September 1921. Also considered as final number

of Dada. Nouveau. Directed by Paul Dcrmee, Aniadee Ozcnfant and Charles Edouard Jeannerct. Paris, no. I, October 1920 - 110.28, January 1925. L'Esprit

156

1920.

Gertrude Literature, Letters

Yale

Stein

Yale

University,

Archives.

Yale

University,

Collection

New

Haven,

of American Connecticut.

of Francis Picabia, 1913-1946.

Archives. Yale Collection of American Yale University, New Haven, Connecticut. Letters, drawings and manuscripts by Francis Picabia; letters, catalogues and scrapbooks with clippings, photographs and miscellaneous data pertaining to Francis Picabia.

Alfred

air.

Anonyme, Museum of Modern

New Haven, Connecticut. Several letters of Mme. Buffct-Picabia; catalogues and photographs pertaining to Francis Picabia. Art,

Stieglitz

Literature,

Marius de Zayas Archives. In the possession of Mrs. Marius de Zayas and her son, R. de Zayas. Letters, invoices and catalogues, relevant to Alfred Stieglitz, Picabia,

Gallery and various

artists.

The Modern

Exhibitions

Societe des Artistes Francais. Salon de lSgg. Paris,

Hereafter referred to

May May

Salon. Salon.

May

1901. 1902.

Societe des Artistes Independants. Salon de 1903. Paris,

20-April 25, 1903. Hereafter referred to

May

Salon.

1899.

as Salon.

March

as Independants.

1903.

du Salon d'Automne. Salon de 1903. Paris, October 31December 6, 1903. Hereafter referred to as Salon d'Automne. Societe

May

Salon.

1904.

Galerie Berthe Weill. Exhibition of Dufy, Girieud, Picabia,

October 1904.

Picasso and Thiesson. Paris,

15-November

Salon d'Automne. October

15, 1904.

Galerie Haussmann. Picabia. Paris, February 10-25, 1905.

Preface

L. Roger-Miles.

May

Salon.

1905.

Salon d'Automne.

November

Galeries Georges Petit.

November

en Couleurs. Paris,

Grand

1905.

Deuxieme Salon

de la Gravure Originalc

1905.

Palais. Troisieme Salon de I'Ecole Francaisc. Paris,

January

26-February 25, 1906. Caspar's Kunst-Salon. Exposition Picabia. Berlin, April 1906.

May

Salon.

1906.

Galeries Georges Petit. Troisieme Salon de Couleurs. Paris,

November

Gramire Originalc en

1906.

Ecole des Beaux-Arts. Exposition des Acquisitions de Paris,

December

I'Etat.

1906.

Galerie Haussmann. Picabia. Paris, February 1â&#x20AC;&#x201D; 15, 1907. Preface

L. Roger-Miles.

Grand

Palais.

Quatrieme Salon de I'Ecole Francaise. Paris, February

1907.

Cremetti Gallery. Salon.

May

Picabia.

London, March 1907.

1907.

Galeries Georges Petit. Quatrieme Salon de Couleurs. Paris,

October 22-November

Gravure Originalc en

17, 1907.

Galeries Georges Petit. Exposition de Tableaux par F. Picabia. Paris,

March

17-31, 1909. Preface

Hotel Drouot. Tableaux,

L. Roger-Miles.

aquarelles, dcssins,gravures, eaux-jortes par

F. Picabia. Public auction. Paris,

March

1909.

Modcrne [1st exhibit of the de Peinture Moderne]. Rouen, December 20,

Salle Boieldien. Exposition de Peinture

Societe

Normande

1909-January 20, 1910. Introduction by Elie Faure. Galerie de l'Art Contemporain. Exposition de Sculpture, Peinture,

Art Decoratif. Paris, November iS, 1909-January 15, 1910. Preface by Louis Vauxcelles. Salon d'Automne. October

i-November

1910.

Independants. April 21-June 13, 1911.

Societe

Normande de

Exposition.

Rouen,

May

Peinture Moderne. Deuxihne 1911.

Salon d'Automne. October

i-November

191

Galerie d'Art Ancien et d'Art Contemporain. Exposition d'Art

Contemporain. Paris,

November 20-December

by Rene Blum. Independants.

March 20-May

16, 1912.

16, 191 1. Preface

Soci&e Normande de Peinture Moderne. Salon dejuin [Troisieme Exposition!. Rouen, June 15-July 15, 1912. Prefaces by Elie Fame and Maurice Raynal.

La Section Preface by Rene Blum.

Galerie de La Boetie. Salon de

10-30, 1912.

Salon d'Automne.

October i-Novembcr

d'Or. Paris,

October

15-Decembcr

12, 1920.

December 10-25,

Paris,

1920.

Indipendants. January 23-Fcbruary 28, 1921.

Galerie Dalpayrat. Exposition Picabia. Limoges, February Iâ&#x20AC;&#x201D; 15, 1921.

1912.

Association of American Painters and Sculptors. International Exhibition of Modern Art [The

Salon d'Automne. October

Galerie Povolosky [Galerie dc La Ciblc]. Exposition Picabia.

Armory Show]. New York,

February 17-March 15, 1913. Participating museums: Art of Chicago, March 24-April 15, 1913; Copley Society of Boston, April 28-May 18, 1913.

Worcester Art Museum. Paintings by Members of the Anonyme. November 3-Decembcr 5, 1921. ,S",i/(iii

d'Automne.

November i-Dcccmber

Socicte

20, 1021.

Institute

Art Institute of Chicago. The Arthur J. Eddy Collection. Chicago, 1922.

of the Photo-Secession [291]. Picabia Exhibition. York, March 17-April 5, 1913. Preface by Francis Picabia.

Little Gallery

New

March 19-May

Independants.

Dcr Sturm

Independants. January 28-February 28, 1922.

MacDowell Club. iS, 1913.

Anonyme.

Galerie. Erster Deutscher Herbstsalon. Berlin, August,

New

Exhibition of the Collection of the Sociiti

York, April 24-May

Salon d'Automne.

1922.

November i-December

17, 1922.

by HerwarthWalden.

1913. Preface

Dalmau. Exposition Francis Picabia. Barcelona, November iS-December 8, 1922. Preface by Andre Breton.

Galeries

Salon d'Automne. Independants.

November

March I-April

15,

1913-January

Amsterdam, May-June

[291]. Picabia Exhibition.

New

la folic

New

York, January 5â&#x20AC;&#x201D;25,

1916.

McClees and Co. J. May-June 1916. E.

Amateurs d'Art

Salon d'Automne.

9-March

1925; London, October 1925;

New

1923.

12, 1924.

Not

verified.

Galeries Durand-Ruel. Tri-National Exhibition. Paris,

York,

Annual Exhibition.

First

Lc Salon

et des Collectionneurs.

November 15-30, 1923. November i-December 16,

Galerie Mesens. Brussels, 1924.

New

10-

enchere. Paris,

Indipendants. February

Bourgeois Galleries. Exhibition of Modern Art. February 10-March 10, 1917.

New

May 28-?,

York, November 1925.

Hotel Drouot. Tableaux, aquarelles et dessins par Francis Picabia appartenant a M. Marcel Duchamp. Public auction. Paris, March 1926. Preface

The

1923.

May

des Arts". Exposition. Limoges,

Exhibition of Modern Art. Philadelphia,

The Society of Independent Artists. York, April 10-May 6, 1917.

May

1923.

Societc des Gallery. Picabia Exhibition.

II, 1923.

Salon dc Grenoble. Grenoble, June 1923.

York, October

1915.

Modern

Amis

Socicte "Les

June

Gallery. Opening Exhibition.

10-March

Exposition chcz Danthon. Francis Picabia. Paris,

Teutoou-

Preface by G[crmaine] Efverling].

of the Photo-Secession York, January 12-26, 1915.

Modern

I 'rije

1914.

Little Gallery

New

1914.

Independants. February

Onafhankelijken. jdc Internationale Jury -

stelling.

30, 1914.

by Marcel Duchamp.

Society of Independent Artists. Second Annual Exhibition.

New

York, April 20-May

Galerie Barbazanges. Exposition. Paris, April 1926.

12, 1918.

Le Salon d'Art Wolfsberg. Exhibition of Modern September 1918.

Art. Zurich,

May

31, 1926.

9, 1926-January 1, 1927; Anderson Galleries, January 25-February 5, 1927.

Arden Gallery. The Evolution of French Art. New York, April 24, 1919. Organized by Marius de Zayas.

29-May

November i-December

Paris,

The Brooklyn Museum. An International Exhibition of Modern Art. Assembled by the Socicte Anonyme. New York, November

Kunsthaus Zurich "Das None Lcben" Erste Ausstellung. January 12-February 5, 1919. Preface by Marcel Janco. Originated in Basel, November 191S?

Salon d'Automne.

Hotel Drouot. Public auction.

Cercle Nautique. Exposition Francis Picabia. Cannes, January 28-

February Galerie

10, 1919.

New York,

1927. Preface

by Emcran Clemansin du Maine.

Bcrnheim Jeune. Exposition

multinational. Paris, January

1927.

Cirque

d'FIiver. Exhibition of Modern Art. Paris,

December

1919.

Socicte des Beaux-Arts de Nice.

50111c

Exposition.

March

1927.

Independants. January 2S-February 29, 1920.

Van Leer. Exposition November 5, 1927. Galerie

Galerie Moos. Peinture 1920.

Not

Sculpture Cubiste.

Geneva, February

Picabia. Paris,

October 24-

verified.

Salon Neri. Dada Exhibition. Geneva,

March

Galerie Briant-Robert. Francis Picabia. Paris,

Not

1920.

1927. Preface

November

11-30,

by Robert Desnos.

verified.

Sans Pared. Exposition Dada: Francis Picabia. Paris, April 16-

Brauhaus Winter. Dada -

'orfruhling:

1920.

Kunsthandlung Dr. Otto Burchard. Erste Messe. Berlin, June 5-August 25, 1920. of the Socicte Anonyme. April 30-Junc 15, 1920. Galleries

158

Internationale

First Exhibition.

of the Socicte Anonyme. Third August 2-Septcmbcr II, 1920. Galleries

Fabre. Exposition Francis Picabia. Cannes, February 20-25,

by Emile Fabrc; prolegomenis by Emcran Clemansin du Maine.

Gemdlde, Skulpturen,

Zeichnungen, Fluidoskeptrik, Vulgardilettantismus. Cologne, April-

May

Chez

1928. Statement

30, 1920.

Dada-

The Intimate

May

Chez

New York,

York, April 19-

15, 1928.

Fabre. Exposition Francis Picabia. Cannes, April

1929. Preface Exhibition.

New

Galerie Theophile Briant. Francis Picabia. Paris, October 26-

November

New York,

Gallery. Picabia Exhibition.

11, 1928.

Galerie Theophile Briant. Exposition Picabia. Paris,

12-December

1-27,

by E. Fabre.

1929.

November

Galerie

Goemans. Exposition

Peinture an

deft]. Paris,

Galerie Alexandre

III.

de Collages [Louis

March

Aragon's La

Exposition Picabia. Cannes,

August 1930.

Kunstsalon Wolfsberg. Produktion Paris 1930. Zurich, October

8-November

15, 1930.

Monaco, office de tourisme. 50 dessins de F. October 4-20, 1943. Preface by Germaine Everling.

Principautc de Picabia.

1930.

Philadelphia

Museum of Art.

"291" and After.

Stieglitz:

History of an American, Alfred

March 1944-January

1947.

Salon des Surindependants. Paris, October 1945.

Chez Leonce Rosenberg. Exposition Francis Picabia. Paris, December 9-31, 1930. Prefaces by Francis Picabia and Leonce

Kunsthalle Basel. Francis Picabia Sammlung Nell Walden.

January 12-February

1946.

Rosenberg.

Galerie Dcnise Rene. Francis Picabia - Peintures

Onafhankelijken. Hedendaagsche Schilderkunst en Beeldhouw-

knnst.

Amsterdam, March

Evelyn

Wyld

Cannes, August

Paris, April

26-May

sur-irrealistes.

20, 1946.

1932.

Eyre de Lanux. 104 dessins par Francis Picabia. by Germainc Everling.

19, 1932. Preface

Chez Leonce Rosenberg. Exposition de Dessins par Francis December 1-24, 1932. Poem by Gertrude Stein translated by Marcel Duchamp. Picabia. Paris,

Galerie Dellevoy. Exposition Picabia. Brussels,

Not

May

1946.

verified.

Premier Salon des Realites Nouvelles.

Paris, July 1946.

Salon des Surindependants. Paris, October 1946. Galerie Colette Allendy. Francis Picabia, ceuvres de 1907

Galerie Vignon. Exposition des oeuvres de Francis Picabia. Paris,

Paris,

November

Goetz.

Art

9-23, 1933.

Institute

of Chicago.

Galerie Alexandre 1' Atelier

Preface

III.

Century of Progress. 1933.

Catalogue des Aquarelles

August

iS, 1934.

by Maurice Mignon.

Galerie Vignon. Francis Picabia, ses oeuvres recentes. Paris, 6,

November

5-24, 1934. Preface

by Gertrude

Cannes, February 21-March

13, 1947.

New York,

The London Gallery. The March 18-May 3, 1947.

Cubist Spirit

in its

Time. London,

Galerie Colette Allendy. Exposition Picabia. Paris,

March

1935.

June

23, 1947. Preface

by Francis

May

30-

Picabia.

verified.

The Arts Club of Chicago. 3-25, 1936.

Poem by

Museum of Modern March 2-April

Paintings by Francis Picabia. January

Art. Cubism and Abstract Art.

19, 1936.

Museum tion.

Gertrude Stein.

New York,

of Modern Art. Alfred Stieglitz Exhibition: His Collec10-August 31, 1947.

New York, June

Salon des Realites Nouvelles. Paris, July 1947. Statement by Francis Picabia.

Alfred H. Barr, Jr., Ed.

of Modern Art. Fantastic Art, Dada and Surrealism. New York, December 7, 1936-January 17, 1937. Alfred H. Barr, Jr., Ed.

Museum

Galerie Lhote. Francis Picabia. La Rochelle, October 11-22, 1947. Galerie Colette Allendy.

Galerie

1937-

Paris, April

La Galerie Serguy. Exposition

Cannes, April 1937.

Picabia.

Galerie de Beaune. Francis Picabia, peinturcs Dada, paysages

November 19-December 2, 1937. Excerpts from statements by Marcel Duchamp, Andre Breton, Jean van

du Luxembourg.

11-May

Exposition Picabia. Peintures recents.

1948. Preface

Francis Picabia.

Galerie des Deux-lles. Francis Picabia, ceuvres de 1948. Paris,

November 15-December

recents. Paris,

earlier

HWPSMTB. Paris, April 22, 194S.

Statement by Francis Picabia.

Galerie d'art Duverney. Exposition Picabia. Cannes, February

4, 1948.

Statement by Michel Seuphor.

Rene Drouin. 491, 50 ans de plaisir. Paris, March 4-26, Contributions by multiple authors, see bibliography.

Galerie 1949.

Heeckeren.Jean Cocteau, G. Ribemont-Dessaignes, Vivian du Mas, Jacques-Henri Levesque and Gertrude Stein.

Galerie des Deux-lles. Picabia Point. Paris,

The London

1949. Statement

Stein.

Galerie Jeanne Bucher. Exposition Picabia. Paris,

Not

Francis

Preface

Germaine Everling.

1934.

Valentin Gallery. Recent Paintings by Francis Picabia.

1924.

10-20, 1947. Galerie des Etats-Unis. Exposition Germaine Callibert Picabia.

October 25-November

Statement by Henri

16, 1946.

Galerie Lhote. Exposition Francis Picabia. La Rochellc, January coutposaut

et dessins

de Francis Picabia. Public sale. Cannes,

October 18-November

Gallery Ltd. The Impact of Machines. London, May-June 1938.

Galerie de Beaune. Exposition Picabia. Paris,

Preface

November

1938.

by Albert Flament.

Galeria de Arte Mexico. Exposicion International del Surrealismo.

Mexico City, January-February La Galerie Serguy. Exposition Preface by Gertrude Stein.

Cannes, April 1941.

Institute of Chicago. Twentieth Century Art from The Louise and Walter Arensberg Collection. October 20-Dccember 18, 1949.

Rose Fried Gallery. The Pinacotheca. February 1950. Preface by Jean Arp.

Art of This Century. Art of This Century:

Not

verified.

Objects, Drawings,

Photographs, Paintings, Sculpture, Collages, 1910

to 1942.

New

York, 1942. Peggy Guggenheim, Ed.

12, 1951. Preface

Library. Exposition Francis Picabia et Michel Sima. Cannes, July 15-31, 1942. Preface by Germaine Everling.

York,

18-November December

Rose Fried Gallery. Some Areas of Search. June 195 1.

1950.

13,

Picabia.

Yale University. Gertrude Stein's "Pictures for a Picture." Haven, February 11-March 11, 1951.

dada 1913-1925). Paris,

New

New York, May-

November 20-December

Chez

1943-

21-28, 1952. Statement et

portraits par F. Picabia.

1951.

Statement by Jacques-Henri Levesque.

La Galerie Serguy. Bonnard-Matisse-Picabia. Cannes, April 10-30,

Cannes, September 7-30, 1943.

by Francis

New

Galerie Artiste et Artisan. Quelques Oeuvres de Picabia (epoque

The Lounge

Galerie Art et Artisan. 100 dessins

Picabia.

Galerie Colette Allendy. Francis Picabia. Paris,

1950-January

Galerie Pasteur. Exposition Picabia. Algiers, 1941.

12-31,

Art

Galerie Apollo. Picabia. Brussels, October

1940.

Picabia.

December

by Michel Seuphor.

A. B. Assortment de

dessins de F. Picabia. Ales,

January

by Rene Char.

Galerie Marbach. Ausstellung Francis Picabia, Christine Boumeester,

Henri Goetz. Bern, March 26-April 23, 1952.

Calorie Colette Allendy.

toiles recents

de Francis Picabia. Paris,

1952-January is, 1953. Statements by Andre Camille Brven, Jean Cocteau.Jean van Hceckeren, [acques-Henri Levesque, Michel Perrin and Michel Seuphor.

December Breton

19,

[?],

Palais Barberini.

Musee National d'Art Moderne. Le Cubisme.

Paris,

January 30-

Apollinaire.

Rome, December 1960-

de Saint-Trope:. Paris,

May

2-June

Konsten. Stockholm,

May

17-

Moderna Museet. 3,

Rorelsc

1961.

a Picabia. Paris,

of Modern Art. The Art of Assemblage. New York, October 2-November 12, 1961. William C. Seitz, Ed.

Museum

Mona

November-

Sidney Janis Gallery. Dada. 191 6-1 g2j. New York, April 151953. Statements by Jean Arp, Tristan Tzara, Richard Huelsenbeck and Jacques-Henri Levesque.

Galerie

Walker Art Center. The

Detroit Institute of Arts. French Drawings and Watercolors from

May 9,

Contemporary Art.

Classic Tradition in

Minneapolis, April 24-Junc 28, 1953. Picabia.

New

by Georges Ribcmont-Dessaignes and

Cantini. Picabia. Marseille,

March 20-May

15, 1962.

Text and catalogue by Mine. Jacques Latour and Jean- Albert Cartier. Statements by multiple authors from previous publications.

February 1954. University of Michigan

Museum of Art.

Kunsthalle Bern. Francis Picabia. July 7-September

20th Century

Painting and Sculpture from the Winston Collection.

Ann

Arbor,

1955-

dation. Exposition Picabia,

les artistes

soleil et Jean-Gabriel

Domergue. La Napoule, September 14-October

1956.

1962.

Picabia, Schwittcrs.

Epstein Collection.

New York,

Towson, Maryland,

Whitney Museum of American

Art. The Decade of the Armory York, February 27-April 14, 1963. Participating museums: City Art Museum of St. Louis; Cleveland Museum of Art; Pennsylvania Academy of the Fine Arts, Philadelphia; Art Institute of Chicago; Albright-Knox Art Gallery, Buffalo. Lloyd Goodrich, Ed.

Show.

December 28,

1956.

Detroit Institute of Arts. Collecting Modern Art: Painting, Sculpture and Drawings from the Collection of Mr. and Mrs. Harry Lewis Winston. Detroit. September 27-Novembcr 3, 1957.

museums: Virginia Museum of Art, Richmond; San Francisco Museum of Art; Milwaukee Art Institute; Walker Art Center, Minneapolis. Participating

et d'Industrie.

Lebel.

January 1963.

Villa Robioni. 30 toiles, gouaches, aquarelles, dessins de F. P.

appartenant a Mine. Germaine Everling-Picabia. Nice,

by Jean-Jacques

Goucher College. The

14, 1956.

Galerie Furstenberg. Exposition Picabia. Paris, June 5-July

Preface

The Alan Gallery. Dnchamp, January 7-February 2, 1963.

Chateau Historique de La Napoule. Henry Clews Art Foun-

May

Lisa. Picabia vu en transparence. Paris,

1961. Prefaces

PatrickWaldbcrg.

Musee

Galerie La Boutique d'Art. Exposition Picabia. Nice, January-

Musee d'Art

December

Michigan Collections. January 1962.

Rose Fried Gallery. Marcel Dnchamp and Francis York, December 7, 1953-January 8, 1954.

The

10,

Scptcmber

Hommage

October 1953. Homages by Charles Estienne, Michel Tapie, Edouard Jaquer, Roland Penrose, Charles Dotremont and Pierre Alechinsky. Galerie Cravan.

Amis

Galerie de Paris. Les 1

April9, 1953.

Omaggio ad

January 1961.

Art Abstrait. Saint-Etienne, April-

1957.

New

Munson- Williams-Proctor Street Settlement,

Institute, Utica,

and the Henry

New York. Armory Show, 50th Anniversary 17-March 31, 1963, and New York,

Exhibition. Utica, February

April 6-28, 1963. Introduction

The Solomon

by Milton

Guggenheim Museum.

Brown.

20th Century Master

New York, November 6, 1963-January 5, 1964. museums: University Gallery, University of Minnesota, Minneapolis; Fogg Art Museum, Boston. Drawings.

May

Galerie Knoedler. Les Soirees de Paris. Paris,

16-June 30, 1958. Introduction by Andre Billy; catalogue by Guy Habasque.

Sidney Janis Gallery.

November

X Years ofJanis. New York, September 29-

Affmites. Paris, 1964.

Kunsthalle Dusscldorf. Dada, Dokumente einer Beweguug.

September 5-October 19, 1958; Stedelijk Museum, Amsterdam, December 23, 1958-February 2, 1959.

November

Gallery. Francis Picabia.

London, October-

1959.

Exposition Internationale. 50 ansd'art moderne. Brussels, 1959. Galerie Chalette. Construction and Geometry

York, March 31-June

Museum voor Schone

Kunsten. Figuratie Defiguratie. Ghent,

i964.Galerie Charpentier. Le Surrealisme: Sources, Histoire,

1958.

The Matthiescn

Participating

in Painting.

New

Texts by

Raymond Nacenta and

Hatton Gallery and Institute of Contemporary Arts. Francis Picabia. London, March-April 1964. Published by the Department of Fine Art, University of Newcastle upon Tyne. Ronald Hunt, Ed.

Michigan State University. Turn of the Century Lansing, April

10-May

Exhibition. East

1964.

i960. Galleria Schwarz. Picabia. Milan,

Galerie Samiaren.

Patrick

Waldberg.

Picabia tour autour.

May

5-June

1964.

Stockholm, February

Museum

of Art. 1914. October 6-

November

i960.

Baltimore

Galleria Schwarz. Francis Picabia. Milan, July 1-30, i960. Brief

Leonard Hutton Galleries. Albert Gleizes and the Section d'Or. New York, October 28-December 5, 1964. Texts by William A. Camfield and Daniel Robbins.

statements by multiple authors.

Art Associates of Lake Charles, Louisiana. The Trojan Horse. i960.

Galerie Furstenberg. Francis Picabia. Paris,

Palais Granvelle. Surrealismc

Precurseurs.

Galerie Denise Rene. Art abstrait

The Solomon

constructif. Paris,

New

Guggenheim Museum.

York, February 7-April

November 4-

1964.

Galerie Louis Carre. Picabia, "Chapeau de Paillc?". Paris,

1961.

November 4-December R.

4, 1964.

Paintings from the

Arensberg and Gallatin Collections of The Philadelphia Art.

December

Besanfon, 1961.

15, 1964.

16, 1961.

Museum

Houston Museum of Fine Arts. The Heroic 191./. October 20-December 8, 1965.

Years: Paris 190S-

Moderns Museet. Dada. Stockholm, February 3-March

27, 1966.

Dada. Geneva, February 17-March 30,

La Galerie Krugier

et Cie.

1966. Introduction

by Werner Haftmann.

Museum

of Art. Harbingers of Surrealism. February 26-March 27, 1966. Foreword by William J. Hesthal. Santa Barbara

The Solomon R. Guggenheim Museum. Gauguin and Decorative Style.

New York, June 23-October 23,

M. Knoedler and

the

1966.

Co., Inc. Seven Decades: iSg5-ig6s, Cross-

Modern Art. (Exhibition at ten New York galleries for the benefit of the Public Education Association), April-May

currents in

1966.

University and the Museum of Art, Rhode Island School of Design. Herbert and Nannette October 7-November 6, 1966. Catalogue by George Downing and Daniel Robbins.

Annmary Brown Memorial, Brown Rothschild Collection. Providence,

Kunsthaus Zurich. Dada. October 8-November 17, 1966; Musee National d'Art Moderne, Paris, November 30, 1966January 30, 1967. Collaboration of the Association pour l'Etude du Mouvement Dada, Paris. Sidney Janis Gallery.

Two

Generations.

New York, January 3-27,

1967. Stadtisches

Museum

Schloss Morsbroich Leverkusen. Picabia.

February 7-April 2, 1967; Stedehjk van Abbemuseum, Eindhoven, April 21-June 4, 1967. Texts by Rolf Wedewer, Ursula

Wedewer-Bocker and Lothar Romain.

The Solomon R. Guggenheim Museum. Seven Collection.

New York, June 28-October

Decades:

Museum

1967.

Albright-Knox Art Gallery. Painters of the Section d'Or. Buffalo, September 27-October 22, 1967. Text and catalogue by Richard V. West. Galleria Civica d'Arte

Moderna. Le Muse

November 1967-January

Inquietanti.

Turin,

1968.

Albright-Knox Art Gallery. Plus by Minus: Today's Half Century. Buffalo,

March 3-April

14, 1968.

The Solomon R. Guggenheim Museum. Fantasy.

Rousseau, Redon, and

New York, May 31-September 8,

1968.

Musee National d'Art Moderne and Minister of Cultural Affairs. Painting in France igoo-ig6y. 1968. Participating museums: National Gallery of Art, Washington, D.C.; Metropolitan

Museum Institute

Grand

of Art, New York; Boston Museum of Fine Arts; Art of Chicago; M. H. de Young Museum, San Francisco.

Palais,

ygme Exposition

de la Societe des Artistes Indepen-

dants. Retrospective igos-igog. Paris,

March 22-April

15, 1968.

Museum

of Modern Art. Dada, Surrealism and Their Heritage. New York, March 27-June 9, 1968. William S. Rubin, Ed. Participating museums: Los Angeles County Museum; Art Institute of Chicago. Ville de Strasbourg.

September

V Art en Europe autour de igi8. May 8-

15, 1968.

National Gallery of Art. Paintings from the Albright-Knox Art Gallery.

Washington, D.C.

Museum of Modern

May

18-July 21, 1968.

Art. The Machine as Seen at the

End of the

New York, November 30,

1968-February 9, museums: San Francisco Museum of Art; The University of St. Thomas and the Institute for the Arts at Rice University, Houston. Mechanical Age.

1969. K. G. Pontus Hulten, Ed. Participating

Museo Nacional de Bellas Artes. log Works from the AlbrightKnox Art Gallery. Buenos Aires, October 23-November 30, 1969.

Staff"

THE SOLOMON

THOMAS

Curator,

louise averill svendsen

edward f. fry, WALDMAN

Associate Curators,

GUGGENHEIM MUSEUM

M. MESSEH

glenn

Business Administrator,

viola

Administrative Assistant,

easton,

jh.

gleason

DIANE

margit

Assistant Curator,

Librarian,

mary joan hall

Technical Administrator,

Preparator,

Registrar,

roweh

orrin riley

saul fuerstein

david roger anthony

Photographers,

robert e. mates PAUL KATZ

Assistant Conservator,

lucy belloli

Purchasing Agent,

Elizabeth m. funghini

Building Superintendent, peter g.

Head Guard, Charles

Public Affairs Officer,

Membership

Secretary,

Auditor,

banach

robin m. green

miriam emden

Administrative Assistant,

Museum

loggin

agnes

linda konheim

Connolly

Works

Photographic Credits

Exhibition

in the

Albright-Knox Art Gallery, Gift of The Seymour H. Knox Foundation,

Inc.: no.

Supplementary photographs

The Art Courtesy Pierre-Marcel Adema: pp.

Courtesy Galerie Louis Carre,

Bacci, Milan: nos. 67, 75, 102

3, 8

The Baltimore Museum of

Paris: p. 4

Sadie A.

Courtesy Otho

St.

of Chicago,

Alfred Stieglitz Collection: nos. 25, 26

Courtesy Gabrielle Burfet-Picabia: pp.

Institute

May

Art,

Collection: no. 45

Clair Lloyd, Barcelona: p. 6

Serge Beguier: no. 77

Courtesy Olga Picabia: pp.

Courtesy Henri Benezit: no. 92 Carnegie

Institute, Pittsburgh: no.

Figures in the text

Geoffrey Clements: nos. 43, 54

Courtesy The Art Bulletin: Fig. 6 Courtesy Galerie Denise Rene, Courtesy Galerie Furstenberg,

James

Gilbert,

Houston:

Courtesy Alfred Fischer,

Fig. 28

Paris: no. 84

Courtesy Hilde Gerst: no. 7 Paris: Fig. 15

Galerie Cavalero, Caimes: nos.

Paris: Fig. 27

Courtesy Olga Picabia:

John D.

Detroit Institute of Arts: no. 21

Paris: Fig. 5

Musee National d'Art Moderne, N. Mandel,

A. C. Cooper, London: no. 6

Paris: Fig. 3

Galerie de L'Elysee, Paris: nos. 12, 91

Fig. 31

Galerie Jean Chauvelin, Paris: no. 71

Schift": Fig. 5

Galerie Denise Rene, Paris: nos. 37, 52

Courtesy Seattle Art Museum.

Eugene

Fuller

Memorial Collection:

Fig.

Courtesy Yale University Art Gallery,

Galerie de Paris, Paris: no. 8

New

Haven:

Fig.

Galerie

Mona

Lisa, Paris: nos. 13, 73

Jacqueline Hyde, Paris: no. 86

Andre Koti,

Paris: no. 5

Courtesy Mrs. Barnett Malbin (The Lydia and Harry Lewis Winston Collection): nos. 56, 60

N. Mandel,

Paris: nos. 16, 19, 20, 29, 46, 53, 59, 88

Robert E. Mates and Paul Katz,

New

York:

nos. 2, 4, 9, 10, 22, 23, 39, 50, 51, 63, 72

Courtesy The Metropolitan

The Alfred

Museum

of Art,

Stieglitz Collection, 1949: nos. 27, 28, 41, 42

of Modern Art,

New

York: no. 40

The Philadelphia Museum of Art, The Louise and Walter Arensberg

Collection: nos. 33, 34

Photo Piccardy, Grenoble: no. 89

Nathan Rabin,

New

York: no. 59

du Documentation Photographique des Musees Nationaux: nos. 15, 31 Service

Tate Gallery, London: no. 76

Marc Vaux:

nos. 68, 90, 103

Paul Weidrich for

The Arts Club of Chicago:

no. 44

Michel Waldberg: no. 80 Yale University Art Gallery, Collection Societe

Anonymc,

New

Haven: no. 55

exhibition

70/4

5,000 copies of this

book designed by Malcolm Grear have

been printed by Joh. Enschede en Zonen, Haarlem, The Netherlands in September 1970 for the Trustees of The Solomon R.

Guggenheim Foundation on

"Francis Picabia:

the occasion of the exhibition

Retrospective Exhibition"

PHOTOGKAni