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NOTRE'DAMEDE'LA-PEINTURE
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391
P1CAI11A
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UNIQUE EUNUQUE
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391
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BY WILLIAM
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Participating Institutions
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INCINATTI ART
MOM U M
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uss
(A
43
-)
Q
Z
President,
f.
Guggenheim
peter o. lawson-johnston
O
H. H.
ARNASON
BILL D.
A.
MOYERS
CHAUNCEY NEWLIN
ALBERT
E.
MICHAEL
THIELE
F.
WETTACH
CARL ZIGROSSER
Lenders
PATRICK BAILLY-COWELL,
pierre
ANDRE benoit,
Paris
Ales, France
Buffalo,
New
New
New York
York
York
Springfield, Massachusetts
jacques tronche,
rene cavalero,
Paris
Marseille
A.
simone collinet,
Caracas
leon jerusalmi, Le
Paris
New
Paris
von meyenburg,
THE SOLOMON
Basel, Switzerland
kunstmuseum
New
York
G.
NEUMANN,
Chicago
New York
Basel, Switzerland
New York
Stockholm
Paris
Paris
museum
Paris
Pennsylvania
Paris
Scarsdale,
New York
New York
R.
moderna museet,
Neuilly, France
MORTON
succession picabia,
olga picabia,
Buffalo,
lucienne radisse,
New York
Paris
andre napier,
Paris
Milan
York
m.
New York
Paris
manoukian,
schwarz gallery,
Vesinet, France
alex maguy,
Paris
'
n.
Paris
Welti, Zurich
Paris
Robert lebel,
max
New Haven,
Connecticut
?
/
Pref;ace
FRANCIS PICABIAis
of modern
become
tury painting
who
one
as
mention
is
modern
era.
Much
as
Kandinsky, Malc-
vitch,
of
art.
is
thought
art,
name
is
also linked
with the
which
in 191
this
decisive event,
no
New
York, made
But
inter-
Dada movement.
national
work, unlike
Picabia's
Duchamp,
is
almost
familiar as idea
that
of Kandinsky, Mondrian or
unknown
more than
as a pictorial sequence,
we
Thus,
modern
and
even to
painting.
main body of
York
seum
attempt
his contribution as a
survey of
therefore, proposed as a
is,
contradictions
To
museum
his
work
in
New
may
be eliminated or at
least
this,
The Solomon
Guggenheim Mu-
R.
reduced.
Picabia scholar, Dr. William A. Camfield, Associate Professor in the Fine Arts
Houston,
who
as
It is
is
ceeded
of the
artist's
creative lega-
equally clear that no such effort could have sucif the principal
some
catalogue gives
this
indication of the
list
in
wide spread
at
the
and
uals
institutions
toward
toward
Picabia, as well as
own
mu-
acknowledging
make
pose.
pur-
widows
Buffet-Picabia and
this
common
of Francis Picabia -
less
our
We
many forms
much selfwhen
and for
preparatory
their
The
state.
artist's
daughter,
Mme.
is
this
first
el
at
larly gratifying to
know
America. Finally,
art in
departments of
museum, and
this
Museum
of Picabia's
who
by various
particularly that
assistant
of
Linda
making
this
exhibition possible:
M. Poupard-Lieussou,
Francois
Chapon,
Donald Gallup, Conservator, Yale Collection of American Literature, Bernard Karpel, Librarian,
Modern
others
Art,
who
Gresse,
M.
New
Museum of
Mme. Yvonne
M. Romic, Mr.
St.
Thomas, Houston
Thomas M. Messer,
Director
Picabia Aphorisms
If
you want
to
A conviction
There
is
is
have clean
way
through
to
life,
save your
be
it
life: sacrifice
all
We are
we
we
When
Crime
is less
criminal than
What improves
do;
am
and accompanied by
the
are ignorant
not interested
of our
acts until
we
accomplish thei
in the butts.
human justice.
why God
your reputation.
That's
shirts.
a disease.
only one
One must go
ideas,
is
it
represents evil.
has no personality.
it's
for
what I
like to
tomorrow.
do
best.
Francis Picabia
not completely
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
handful of
man and
his
iard, Francisco
wife,
in Paris.
was
raised in an afflu-
He was
spoiled
beyond meas-
drawing, became
known
photography, Picabia
photograph
in
my
To
facile
of
recalls
a landscape
are
draughtsman
an intensely
art as
would be made
by color
obsolete
have
head." 2
embarked
until,
on
his first
of many
debut
his
at the
popular
belief,
he was not
pressionist in emulation
more
years he
was
at that
time painting
of Sisley and
a student
Pissarro.
as
an Im-
For several
until the
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
work.
reliable,
work
(no.
delicate watercolors
of Spanish
in a post-Barbizon
i). 4
government
Picabia'shalf-sister,
legal
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
Orovida
Pissarro,
Mme.
W.
Meadmore). In the first extant account of these years (GaHaussmann, Picabia, Paris, February 10-25, !95)> L.
Roger-Miles stated that, despite modest success at his first
S.
lerie
and of
his craft;
made him
".
rea-
form
Cormon and
All translations
from
Pissarro.
He [ Rodo]
Cormon
oj
makes
me
tells
[Picabia], Tbis
young man
company
is
He
the schools
When
in a
made
he has thus
uniform brown!
number
of the
of drawings, be begins
after
Despite
this inauspicious
first
light,
Midi!
in the
his
of a student
extraordinary, he
having
suits
him. 5
Bcrthe
at
tions
the
with
most distinguished
collectors
France. 7
Picabia's prodigious production as an Impressionist
revealed
faced
by
by
Picabia's
Fig.
Francis Picabia:
Sunrise
in the
Mist, Montigny
three
L.
one-man
who
Roger-Miles
work through
exhibitions, each
is
of them pre-
suggests an evolution in
modes
three
may
that
be con-
1906.
/s
latter half
The
last
variety
of 1908; the
first
was
modes
and
more
subjective
mode
is
Haussmann. He chose
framed
ette
mode
a late
it
specific,
commonplace
of that
site,
specific site in
fleeting qualities
artist,
John Rewald
(Ed.),
Camille Pissarro,
is
but retrue
of
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.
lerie
(fig.
where Picabia -
i)
manner
site (no. 3)
mood
Picabia's
1907 exhibition
Galerie
the
Haussmann,
and
and expressive;
this to
us,
And
necessary that
is
it
which
own
sensation,
emotif];
varied
infinitely
its
of
it
is
work
it is
the image
of
that
in
his soul.*
notes ..."
formed
life.
as the
by
orchestrating the
autonomous and
Tropez from
paintings
March
were presented
and
at the Galeries
8).
When
Georges
it
response to
work
as
an
art
of synthesis
visible
it.
it
esthetic convictions
period.
this
and
own
and
They
Galerie
(fig. 2)
had been
armed with
ended
reflect
these
Petit in
of the
at
Haussmann,
Picabia, Paris,
Fig. 2
Francis Picabia:
Tree.
c.
1904.?
Oil on canvas, 21
/s
x 15"
(55
38 cm.).
Fig. 3
Francis Picabia:
Caoutchouc,
c.
1909.
'/s" (45-5
x 61.5
cm.).
its
and
5)
life,
however,
interest. In
pursue
his inclination to
the
new
fall
of 1908,
directions
was
worked through
Though
to Gabrielle in
January
phases of Fauvism,
Cubism
He
of St.
Trope:
Neocom-
at that
form complementary
to
left it in
its
as
of 19 10 he lapsed into
That unsuspected
stylistic shift
solitary, for
spatial structure
and
vism evident
in Regattas (no.
18),
sexual concerns,
and
an important
in
like
flat,
(fig.
gouache, other
critics
have
3).
forms
work
insisted that
of his long
career,
in every
of the sub-
though
erotic rather
this instance,
thickly brushed
is
panion.
By
tic
this
time
critics
were noting
"modern"
styles
- and missing
mitment
to a synesthetic concept
of
art.
He was
comnot
in
Wagner. He was
was
in-
also acquaint-
his interpretations
(no. 19).
somber-toned
imagery lurks
Eve
er of the abstraction
and
during
style
in
still
work.
influential
also a
meantime
the
was not an
it
eclectic
(figs.
lifes
is
darmg venture
still
landscapes of 1909.
cluster
his students.
Fig.
Still Life.
Francis Picabia:
Fig. 5
Francis Picabia
Still Life. c.
1909.
Oil on canvas, 29 x 36
</i" (73.7
>/z
some of
1909?
Gouache on ragboard, 22
x 92 cm.).
which served
his quest
and
his
Normande
Puteaux
artists
artists
New
had some
common
interests.
York.
all
Few
of the
if
any
more to Fauvism than to the complex, conceptual, monochromatic work of Braque and
Picasso during 1909-11. During those very years Picabia
became
member of the
Societe
Normande de
Peinture
artists
new
era.
and
hibitions, publications
ries
in
arts.
Though
in the Societe
esthetic characteristics
They engaged
latest
development of
their
of a
new
round of ex-
based
Nor-
November
In
where,
'
des Independants
Salon
public manifestation of
artists
who
organized the
Cubism - Albert
Gleizes,
Henri Le Fauconnier.
Cubists and
By
members of
a single, loosely-defined
Puteaux
artists
the
fall
of 191 1, these
the Societe
called the
stylistic
of Societe
reminiscent
was held
in conjunction
Normande
practices,
of these practices helps to account for some of the confusing features of their second group show, the famous
41"
Normande formed
group - sometimes
who were
"salle
Picabia's role
among
paintings failed to
ries,
was
that
of the
by
Initially, his
influence of
some concerns of
Societe
in
acterized
by
group Les
XX.
gram of their
first
programs
in the gallery.
The pro-
Mo-
champ
12
ber
5,
1964.
New
Galleries,
color
commanding
position in the
Though
and
ties
of space,
stylistic
color,
ces.
superficially
dependent
in
Dances
at the
Spring
girls
own
He
ends.
The
at the
light
elements to his
coordinated form,
two
peasant
repeatedly selected
by
melancholy - are employed with alooming mass of figures to create a Cubist version of Goya's
ominous
Pil-
artist's
And
gallery.
spoke on "The
Cubism
new art,
during the
Painters, written
Summer and
Fall
of 1912,
cover those
artists
Duchamp and
Picabia.
his
concept of Orphism
weighed
of Delaunay,
who abandoned
Light, lyricism
hand would
artists
previously associated
critics
and
shoals that
still
historians. 17
He knew
he and
his
sionaries to the
veyed the
experiences - beginning
new, pure
art
it
at the forth-
movement - though
marked
tion that
of
its
Societe
it
may also
Normande
heritage
was no
when
met
as early as 1911,
has been
litz's
ventures.
realization
much
of
later
17
- then
The
La Revue
des Lettrcs
Mo-
at the
1909.
life
at that time.
Spam in
of Greenwich Village
at the soirees
suffragettes
He
but there
summer,
New
cubistes, Paris,
He became an
"291," a guest
fascinated spectator
his experiences.
14
on board
"Simultaneita", Bonniers,
18
discrep-
Sweden, 1962.
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
abbreviated to
YCAL.
journey.
15
16
see
Leonard Hutton
Galleries, Albert
19
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
Fifth
1952.
Next
Dances
to the paintings
at the
exhibit,
and he was an
who
Hapgood
all
produce objects
in
But
exactly
that
attempt
is ...
has attempted
in
what
art
Art
is
a successjul
internal state
of mind or
is
not.
their unrest,
their
then
is
expressed
and dynamic
his
...
ideas
of creation
is
at flood-tide,
Picabia
on ship-board expe-
but
(no. 28),
soul-
of static
recall
Procession Seville.
qualities
the spririt
event
specific
Such
/;;
the
commercialism
my pictures
and
it,
city as
when
In addition to these
pealing
mood
of your
streets
New
arrival in
feeling
...
my
nature
render external an
to
painting
pressions
riences.
Nearly
the studies
I improvise
Hutchins
crowded
York
his
voyage -
that
which suggest
Dominican
priest
20
star dancer. 23
his
for artists
The almost
rius
de Zayas during
this
Ma-
work and
of experi-
Alfred
New
Stieglitz
like
machine
(the
art,
and
Picabia's
whose
articles
approximate Picabia's
on
ideal
that
De
philosopher closely
of life:
New
is
projected not
anarchy'?
the
moody purple
by printing
value
era
Monroe ("Davidson
It
March
were quoted
New
the beatification
as I
any
of paradox,
Nothing which
many personalities
Werk{]\me 1913
papers of
...
22
Francis Picabia,
p. 5)
it
in the
ville
is
is
is forbidden
the
lasts is
of
lives perpetually
have moods
..."
special issue),
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).
21
nothing that
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
is
there
of man by man
I desire as
titles
No.
sanctificatiou
and brown of Negro Song. However, they are not abstract in origin
life
by
York American,
March
30, 1913,
23
24
Benjamin De
Camera Work,
New
New
When
Picabia
left
New
York, he had
in mint!
both
of them were
many,
abstract, arid
like
teristic
themes, which by
tions
modeled
gallery
after
Dance) and
Girl;
32).
These enormous
considerable
titles stirred
one
of
this
his
of a man burdened by an
woman
as
his paintings
critic:
reflec-
more
universal
Udnie
is
taonisl
is
the
these
/ See
is
Again
fugitive im-
They
are
memories
of
of a
pression. 2 "
letter to Sticglitz
of several
The
titles specifi-
more
of
alternate letters
when
easily
this
followed
invented
word form
more
the
embodied
intimately
a cluster
embedded
in a
in an introverted
theme
composition
writhing
field
is
of melancholic-clerical blue
The
title
of
its
decoded, though
so, it
companion
may
not been
be an adaptation of Undine.
If
girls in
an
in metallic,
The
abstraction, quality
World War
in
My
Dear Udnie
during
also
his
Mme.
and
See Again
and
worked
first
in small watercolors
40).
in
Memory
Early in 1914,
in the
Midi, Picabia
of considerable variety
ended abruptly
him
secured
feur.
was dispatched
the army.
He embarked
paused in
New York
Le Matin,
chauf-
customs torment-
May
1915, but
when
the ship
that
all
of
whom
looked to
up
the lead in
2
gathered
at the
Ray, Joseph
at Stieglitz's
Stella,
27
Letter
litz
from Picabia
Archives,
to Sticglitz,
June
"291
Morton Scham-
Demuth and
16, 1913,
Alfred Sticg-
YCAL.
It
26
parties
all
to the
of war and
as a general's
activities there
a favorable
However,
as
plant forms
half-visceral, half-animated
Sticglitz
YCAL).
America
that
bia
it
the
title
theme of
where
Ed-
in
by warm colors;
at
them. 27
25
ceive them.
is
in
Paris,
December
I,
1913, p.
28
29
I.
This
cit.) p.
109.
See The New York Tribune, "French Artists Spur on American Art," October 24, 1915, part IV, p. 2.
was
Picabia
Duchamp was
closest to Arensberg,
particularly involved
graph
eye.
Armory
work he had pursued
is
the image
The machine
of his
is
his
image of his
the
gallery. His
younger
associates, especially
him
to support
first
de Zayas, disa-
more experiments
the
Modern
were intended
tellectual
Modern
new
experiments
at "291.
31
many
...I mean
identified
critical analysis
mock and
were
(c.
1913-1922)
However, Picabia
during the
said he
into
my
upon
and fraught
modem
studio.
work on and on
that
of other
made
artists
links to
man
own
One of
to
Mme.
machinist
The phono-
refers to the
first
style,
machine
- much
graciously
as
as a "creature"
God had
made
Eugene Meyer
almost
all
Modern
largely financed
of the
proved 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
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
Though
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
32
The
33
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.
in
the
beats; a ner-
in a letter
his
the ancient
art
Stieglitz's
as
his
service
modern
much
Prior to the
machinist style
and distinguish
act; lungs
the psychologi-
cal-functional analogies
which
from
Man
styhstic transition
statements of
this
There was no
cal studies
from
31
brilliantly plastic
of mechanical symbolism.' 4
with Dada,
that
30
... to
it
It
by which
at length
documents of a startling
became
critics fell
intended only to
An
to interpret ideas or
of life.
Because
of
the
first
a mere adjunct
life ...
to
complement
to
of human
Gallery,
fessional integrity
really a part
is
of machines:
tic) possibilities
Temps,
Marius
Fig. 6
dcZ.1y.1s
Francis Picabia:
Here She
1
.
New
291,
York, no.
Is (Voifcelle). 1915.
Ink, dimensions
y,
Collection
November
unknown.
unknown. Reproduced
291,
New
York, no.
9,
191 5.
riH
.-'
R
L
'u
iB
iK
$
C
'
man and
but from
The
artist
ed -
aid
of
God
ELLE
"merry widow"
their offspring.
The comma-
is
ers;
more
often, not
some
This
is
true
fied
earliest
was too
script
of "Ideal"
in Picabia's drawing),
and
art
- a commercially
successful gallery.
machinist drawings,
modi-
portraits based
on
representing Stieglitz in a
slightly
summer
his ideal
The camera
Germanic
approach to
of Picabia's
lofty for
Stieglitz's
hostile criticism
contended that
No
ly
accompanying
issue
symbol
of
for a
inscriptions
and
whose
of the design
(nos. 44-46).
undermines the
One of
elle
the
more
(Here She
Is),
clarity
accessible
exhibited
poem Woman
(fig.
6).
"ideal" of discovering
as
camera
is
text
by de Zayas
drawing
35
M. dc
gust 1915-
in an adjacent
New
and photography.'
desires - an opinion
36
echoed
in Picabia's
Decoration,
New
drawing of
York, November
pistol
The
and
a target
and
pistol
target,
would cause
Fig. 7
Francis Picabia:
unknown. Cover
for jpj,
New
York, no.
7,
August 1917.
there-
elle
in contrast to
machine
good working
appears to be in
machine
per-
of Duchamp.
(no. 45)
is
On one level,
and
stability prevail in
"pure"
But an
and
sitional balance
initial
stability
is
impression of compo-
undermined by the
off-
of the smaller
circles
along
this shaft,
ambiguous
illusions
of space,
painting
is
light,
bottom of
academic
classicizing,
of a new, anti-
rational system.
of 1915 when
Mme.
Picabia
went
to
New York
and
celona where
life
French friends,
settled briefly in
among them
Bar-
band of
this
of his time
as painting. In
though -
typical
much more
at least as
much
of Picabia -
by and named
less
after 2gi,
Francis Picabia:
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,
litz
Archives,
YCAL).
June 1917.
unknown. Cover
for jgi,
Francis Picabia:
Fig. 9
The Marquesas
Ink, 8
x 10
Islands,
c.1916-17.
'/:" (22
x 26.7 cm.).
and
friends
foes,
is
and
a partial
tings dating
191
$,
Many
56),
from
almost
all
are also
of machinist pain-
distinct varieties
more
and gangling
droll
in
in
of
composition.
form
(nos.
54-
of the
and
still
forms and
with brutal
bia's
in actual
of a
on
ship's propeller in
Picabia's "painterly"
trast to the
and what
is
probably an un-
Ant
and loca-
energy or
for
is
activity.
message
(fig.
9) identify
is
his
more independent,
moment and
During
They
New
marked by
York, from
caustic, disturbing
in his
work.
excesses in alcohol,
tween
In
spells
September an exhausted
their children at a
Madame
Picabia returned to
first
volume
November
to return to
Paris.-'
in
is
in
its
bleak composition,
bia
(fig. 8).
drawing
related
in a
and
implications in the
50),
like a
of form
inability to function
clarity.
inscriptions
its
its
couched
(nos.
in
54 and
machine
in
More
disturbing content
The
Prostitution
38
Madame
ous
life
and most
prompted
391 that
from
resignation
demand
and
the Salon
model
on
much of the
more
year, he turned
finished three
new
volumes, Poemes
and Draiviugs of
and
la file
de
et dessins
and
intently to poetry
nee
Rateliers pla-
Born without a
the Girl
It
"Dada" and
wrote Picabia,
this unsettled
in
to collabo-
rate
light
work
memo-
rable visit
effect
of that
visit
was
effect
of his
visit
Dada
alter the
long-
established character
profound
do to
at the
rapport
opening of
on
- he did so
like the
his established
machinist
been exhibited in
Paris,
style,
and
39
art,
officers
French
support of Ribemont-Des-
brilliant
of the
first
this
had
post-war
untrammeled standards of
to refuse the
work of
Dada
,"
on these years
in Picabia's
life.
was
d'Autom-
Dada movement
and Tzara,
warned Breton
in turn,
to avoid Picabia,
and the
latter
consuming quest
He had
serious.
fied
with
it.
43
already undertaken a
found
taste.
and
life
identi-
meeting on January
Tzara
who
4,
into a volatile
movement. 44
survive long, but for the
Picabia and
and
new
issues
of
more volumes:
Pensees sans
Showy
41
November
December
42
43
44
Duchamp's
publish a
more
40
Tzara to
It
Paris,
saignes
Throughout
front in Paris.
by
tract
was during
a challenge to a duel
Dada activity in
nized"
of
vitriolic issues
assaults
at various
two
for Ribemont-Dessaignes'
dark
his paintings in a
ling in the
fall
her. In 193
Like
began to
live
all
ultimately
Dada
his divorce
with
alliteration.
and inconsis-
least part
role
is
1919,
difficult to evaluate.
He
and 490.
lived in Paris
(at
Dada was
getting
"Manifestation
March
27, 1920,
was
Dada" held on
Before the per-
a jack-of-all-trades.
salty aphorisms,
Blessed Virgin
(fig. 10) as
He was
Francis Picabia:
The Blessed
Ink, dimensions
Collection
March
"If
unknown.
1920.
ers,
Virgin. 1920.
Paris, 110.12
you
stretch out
Portrait
12),
45
as
them
will cut
entitled Portrait
Still
to an uproarious
cluded
First Celestial
Dada
(figs.
10 and
as
art
1 1)
Ribe-
his colleagues,
an unfettered
indeed, they
life
over
and often
art,
life.
from machinist
of
tended to
critics
Dada - and,
that hindered
little
different
and an abstract
is
a balance
interlace
at the
of biting in-
whose convoluted
it describes -
and
ed. Plastered
O Q,"
of maladies which
full
down
the center of
it
God
down
"L
HO
Duchamp
Dada
was
chaud au
is
cul").
a protest-expose
hypocrisies of
of the
man -
his
intended to use
its
absurdities, pretensions
core
and
may have
monkey for Portrait of Cezanne.
a real
Fig. ii
Francis Picabia
Fig. 12
85 cm.]
Francis Picabia:
Portrait oJ'Cezanne, Portrait of Rembrandt, Portrait of Renoir,
Still Lifcs.
1920.
Private collection.
Collection
_LE DOUBLE
MONDE-
oil
unknown. Reproduced
Fig. i?
Francis Picabia:
Fig. 14
anonymous
engineer:
Reproduced
Collection possibly
M. H.
Saint-Maurice, Paris.
Undc
1921, p.l.
in
Lc Matin,
Paris,
governor.
November
10,
demons within
exorcising the
and
to free themselves;
Try
art,
By
sought
in the
13 Picabia
win
We
that greater
and
self-discipline
hedonist,
less
of
clear
false
This success
of Dada;
Duchamp
and
finally
almost gave up
embraced
promptly departed
straint.
Such
signs
all
art;
it
as
attracted
.finally
it
persons
who have
court, lawyers,
Picabia loved to
disciples
who
possi-
to flee as far as
and
men. I prefer
to
of Litterature
the directors
walk
at
random,
is
Appropriately enough
an outrageous malaise of
Dada
this
defection of a principal
two
and
Picabia,
name
the
of boredom or con-
by Tzara and
only the
ble....
summer of 1920.
Most critics of Dada saw
never
of those gods
falsity
utter
paint and
and
(the Dadists)
own
in his
Picabia was
objectivity;
living
11
his
highly of their
Picabia
announced
as
On May
activities
were worthy
imaginative
Dada
article
summer which
that
beyond Dada."
to break
An accumulation
with Breton
at the
Pilhaou-ThibaouJ"
grand
Dada
fire
was put
new
to his
Dada
tribunal
Christian
was formed
left at a
for a
letter
mock
from
trial
of a promi-
Swiss Dadaist,
47
pocketbook
46
waiter's
air,
tisme"
(I
tributed
gave
Picabia
successful,
ex-col-
his
They responded
in
his "je
m'enfou-
by
d'Automne. 51
and
his
most spectacular
was such
was taken
tings as "explosive"
literally,
and mounting
and were
safe. 52
When a
Salon President
(figs. 13
a notice
and
14),
mock homage
to the
Picabia replied:
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.
48
50
Lc Pilhaou-Thibaou
51
Francaise,
chel Sanouillet,
49
Dada
July 1921,
deconand Mi-
p. 8
May
13,
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.
L'Intransigant, Paris,
October
13, 1921, p. 2.
IDYLATE
'
Fig. 15
Francis Picabia
(115
x 114 cm.).
Collection
'/
x 44
'/"
Paris.
/ congratulate the newspaper Le Matin not only for discovering the secrets but for comprehending
To copy
apples, that
a turbine, that
The other
is
them."
is idiotic.*
with about
in collaboration
to
copy
was done
(fig. 15),
fifty friends
were invited
they covered
enjoyed a
"interior
field
Francis Picabia:
it
Fig. 16
to
(92
x73
c.
1921.
'/ 4
x 28
/4
cm.).
CHATEAU
The painter makes
deformation
the
simply sign
.
constitutes the
in place
it,
why
the choice,
art;
of making
monkey
like a
not
before it?
011 it
and I find
that all
this
of my friends are
purpose of his
art,
namely
it is
made
...
perhaps
!5
still
more
responsiveness to
its
life:
Me, I would
like to found a
Art
is
in the temples
of Art,
would
great despair
good snobs
to
discourage
call
Art with
God
Look, boredom
churches
"paternal" school
is
is
everywhere, except
in the
and
my
to
He had no
<?'
cerned
at the
was con-
FRANCIS
PlCOU-ic*.
work
work admitted
to the Salon 56
and -
two
last
as
fit
he
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
it
No-
23, 1921, p. 2.
Les Yeux
planned for
chattels, but
also
Francis Picabia,
56
feuille
de vigne, Saint-Maurice
d'Automne.
55
ibid.
We
interpellation at the
M.
Picabia caused us an
to
Grand
we
We
do not care
cet,
in seances
of
and
life
art.
a lecture
style,
by Picabia and
public denouncements
a caustic handbill
A few
distributed at the
continued
de-
critics
but
in a distinctive
are characterized
- though not
"Merci pour
to be read
accepted
one
suggested that
critic
"Merdc pour
as a fact.
."
.
le
and soon
this
it
was meant
rumor became
!s
became
activities Picabia
as indicated
by the
of the Modern
Spirit." 5Q
goal or direction
full title,
Breton was
still
what
lay
a foe
when
his
of the Congress,
by Breton) became
a sarcas-
the Breton-Picabia
camps
killed the
The Congress
tant articles
did,
on Dada,
of enmities and
allian-
tions
- a suggestion that
and newspa-
Breton
of something more
dots and
In
62
lines.
Volucelle II (fig.
placing
nude
circles
on
and by
a striped field,
17),
is
remain
it is
which extends to the formal properties of the painting - optical tensions between two and three-dimentrast
sional space
abstract, soft
negative.
and hard,
Duchamp
static
of these
of c. 1922, Optophone
nor machine
and
tings
liberal salon
others, like
is
still
of
1924.*
and
esthetics
seeking that
tic
Dada
Con-
greater
"International
all
title
and
"M
machinist
ed that
at the
subjects
and cata-
of hypno-
field
and
figure pain-
mechanical analogies - or in
this instance,
human-electri-
Dou-
62
In the
ment
fall
characterized
by geometrical
art
move-
57
60
du "Congrcs de
These
articles
de
pins, St.
61
63
Picabia, Barcelona,
No-
like.
le
ma
7c, Paris,
1941) suggest a
P-U3)59
and the
p. 2.
sales catalogue,
1926, n.p.
cal analogies.
gram of a
The
static
magnetic
around
field
a current-bearing
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
By
More important
art.
Francis Picabia:
Volucelle II.
c.
1922-23.
Collection
York.
Levesque,
pressive
New
known
cession of styles
in a suc-
as the
parencies," "Superimpositions"
prominent
modern
more
art to
Western
art,
he
mainstream of
to be in the
seemed to have
his paintings
evolution
it
Most subsequent
quality,
"1
critics hailed
as the prodigal's
loss
critics
have
of judgment and
to
first
Both viewpoints
style,
rely heavily
on
superficial elements
of
that
my life,
lands that
see, the
no need
with
to be
is still
what
and codify
little
ipate in
64
it lasts
are
it
he think
movement
it
de-
like "the
who
who
is
great
partic-
numerous." 67
Roger
110.9,
1959. PP- 3 3- 2 4-
June
9,
1923, p. 3.
he saw
Paris,
66
this,
by L'Esprit Nouveau"
because
But beyond
traverse," 65
sirable to perpetuate
adepts of the
much
La
p.i.
November,
realism in
who
of
new world
the
to discover: the
the
fear
a radical
change
of approba-
and film
(fig. 18),
acte,
was
Ballet.
Eutr'
Rene
merely
which he misjudged
as
disaster-prone,
Though
accommodate
him
to the
movement
and four
several articles
and heaped
',
final issues
an interviewer's question,
ridicule
upon
it
in
of 391. In response to
new movement
"Is there a
want
to tell
you
seek to fabricate
...I hold
to
is
is
it
will always be
it.
What
that
make
chickens. 10
is
of life:
like
little
God
ses
you
Reldche
creates life
reflections
is
Reldche advi-
72
be livers
much
marks some of
in the spirit
as late as
c.
1918-20. There
Bergman
Chicago), but
collection,
and painterly
of Reading (no.
qualities
ing
with
a section
of "monsters" painted
ing 1924-25.
The same
and
date
is
in
Cannes dur-
by
above
spondence. 75 Portrait
is
revised
form
all,
work. In
a particularly helpful
as
frames by
by contemporary corre-
"
I,
other evidence
all
(fig.
/ believe there
Reldche prom-
tomorrow
ities,
life:
oj today, noth-
the
to
life
in
art, as
life
created Reldche a
and
conviction of the
his
Satie, Borlin,
world
enter
to
of ridicule."*
tion
enades through
it; life
as I love
life
man who
Manifesto of Sur-
first
who would
form,
Portrait
is
its
its
20),
it
dumb-
original
85), intellectually
69
70
May
9, 1924, p. 5.
See also 39J, nos. 16-19 ar>d Michel Sanouillet, Francis Picabia
ct
71
Paris,
72
153-70.
November
heme," Le Mouvement
Accelere,
1924, p.i.
program for
Reldche. Reldche
November 27,
ly. Entr'acte
36
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
74
hands,
comb and
title
sometime
after 1938
when
new
it
face,
was
last
stiques,"
XXe
May
1938, p. 34).
Fig. 18
Swedish
and Erik
Satie:
|t^^
Fig. 19
Fig. 20
Francis Picabia:
Portrait, c.1925.
Oil,
Tlie Beautiful
on canvas. Frame by
Collection E.
The
S.
Francis Picabia
Pierre Legrain.
Oil,
as
on canvas, 36
Collection E.
S.
jt
x 29"
(92
73.6 cm.).
As interesting
Butcher).
as these
selves, in relation to
as
- they represent
deformed
figures for
(c.
1923-28) has
The
scription,
though
all
in
parasols,
embracing
While
Woman
with Monocle (no. 86) are more typical of the peThe enormous lozenge eye of this woman is also
riod.
abound
that
tifs
in
such
(fig.
21).
The sinuous
hatching of the
still
life
Picabia
mo-
latter
paintings of
it,
Picasso's
c.
ces
is
unknown, though on
no reverence
the surface
common
more
traditional values
1920s.
Following renewed
in
visits to
it
seems to
reflect
French
art
of the
Barcelona, fragments
also
appear frequently
figs.
22 and
23).
77
patterns of living
transparencies.
Fig. 21
Olga Mohler,
young Swiss
hired to
Francis Picabia:
75
The
unknown.
76
Art,
77
New
Museum of
York).
Picabia's use
by Georges
first
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,
Fig. 22
Francis Picabia:
Barcelona. 1924
Fig. 23
and c.1927?
75 cm.).
Clemente de Tahull,
installed in the
Museum
,,-^p-.
V99
Ills
V* 'xHl
^'"K^^Hr
Fig.
24
Francis Picabia:
Fig. 25
^LIjM^ -y\
Botticelli:
Man
Atrata. c.1929.
Portrait of a
Collection
The
face in the
Fig. 26
with a Medal,
is
a faint
(Fig. 26).
statue in the
1473-74.
are adapted
Atlas.
from
c.
Museo Nazionale,
Naples.
Roman
Germaine Everting
in Picabia's affection. 78
Ensuing com-
harm
his status as a
on him
to provide
and Picabia's
own
exhibition openings
More
and
work prompted
in
their galas,
became events
sale
of
a rash
pets. 75
few
Picabia exhibited a
1928, although the
first
transparencies in the
fall
of
by Picabia during the Dada epoch, Leonce RosenThe transparencies are complex paintings with
reviled
berg.
The images
dis-
ambiguities of
imbued with
most of
a serene
mel-
as Apollo,
1930,
(figs.
all,
by
ideal, classici-
drew heavily on
Italian art
many of
from
visual sources
Classical art
and
Botticelli
was
his
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
Mme. Olga
Picabia's
to
book, Un Quart de
Fig.
27
Francis Picabia:
/8
Formerly collection
Fig. 28
31
/8
" (60
Mme. Simone
yacht.
81 cm.).
Collinet, Paris.
the
Wood
of
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
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
me
sires
with dreams,
Surrealist preoccupation
visions, hallucinations or
of oubliettes permit
all
my
instincts
may have
free course.' 2
At no time
in his career
enough
in themselves,
titles like
Most of
successful in
more
his
of technical
But
finesse detract
art
works
and disdain
painting.
achieved a miracu-
mys-
became darker
in tonality,
a close friend
image
as
heavy
Francis Picabia:
Portrait
2 3 '/<"
IJ 6
60.
4 cm.).
is
Oil on canvas, 45
earthen-hued
Picabia's theoretical
as the solid,
face in so
of conceiving
the
it.
it
It is his
way of achieving
the disembodied
83
Picabia's aloofness
visited
of La Revolution
December
4.8-9).
Francis Picabia, preface to Galcric Leonce Rosenberg, Exposition Francis Picabia, Paris,
December 9-31,
1930.
In this
same
Picabia was
year,
made
He still remained a
not painting
on
at all if that
was
inferior
it.
his wish,
work was
generally
style or direction in
(fig. 30),
Italian inspiration
Only
his
work of 1909-n. 84
(nos. 96
and 1939 suggest contact with more vital
currents of the 1930s. 85 Picabia was aware of all the
and 97)
in 1937
trends, for
year, but
he
much
Life
a portion
of each
new automo-
on board
his
World War
fine autos
trimmed
II
his style
of
living. After
1939
first
Olga (now
some extent on
life,
he and
the sale of
paintings.
by what might be
realism, that
is,
called
"commercial" or "popular"
(fig.
31).
per-
sistent
There
realism.
is
Picabia
for a decade.
latter
view;
And, according
to
Olga
Picabia, he enjoyed
make
on some
reference to
that
artists associated
movement more
Superimposition young
Collection
girl
and madonna,
c.
1935.
sets
unknown.
him
apart. 80
Some of
usual, bitter-sweet
affairs,
but
his
were exhibited
major
at
the
November 4-17,
I93S.
85
hed
86
summer
1937, pp.25-8.
from
troubles issued
99)
He
Germans, and
He
and Olga
settled in
ily
who
it
friends
clubs
joined
Paume.
new
tenor of
life
in victorious
completely
in
Picabia's
own
work,
as
situation -
paintings
to his
is
work
uneven, but
at
The
in his
at their best
like the
work of artists
bles-
sion wanting in
tings
Picabia
helped
as
by introducing him
new forums
as the
much
as
anyone to rejuvenate
young
to
artists active at
Camille Brycn
among
Ubac and
miss a familiar
statements.
lic
war,
after the
his
new
swept Paris
such
He commented
not
Do You Want
each painting
is
for
me
is
and
to
of my preceding production
stages
further
...
in
order to continue
tlte
unseizable which
is reality. 8S
imbued with
work of 1939
was
87
by
moods and
Colline,
"Un
89
Though
le desert (Paris,
his
tions,
Choix
de
Poimes de
itself.
And
like so
many of
it is
it.
of any
it is
open
to the
sensitive viewer.
on
their
way
as a
dots.
theft
ofjewelry which
He
on
triumphant exhibi-
this
he counted on
efforts
of loyal friends
But
was never
essentially Picabia
He was
old,
ill,
and
relatively poor,
life-
For Picabia,
desires
activities
who
had trusted
as real
who had
were
as
grim
it
meaningful.
as the
"Death doesn't
two
years,
and
brooding image
1945, p. 50.
Henri
his
began to make
taonisl
own
evoke death
of Kalinga.
1945),
Bal
It.
most important of
Sell
even repul-
a disquieting,
Around 194X-1950 Michel Tapie, Jean Cassou, Michel Seuphor and Bernard Dorival published articles on Picabia. The
dans
to
unidentifiable,
November
It is
worked
is
interests at this
surface
Goetz, Paris).
88
its
which seems
and
Like Pretty
exist, there
painting transformed
in
titles as I
by his abstract
composed of a 1939
either suggested
with such
to
and Picabia
life
spirit
to
(1948,
title
ings based
that which I wish to express
"Dada"
exercised his
Girls.
homed
of "monster" pain-
from
sensual-spiritual response
periods.
(no.
is
beast or the
The
Dove of Peace
90
Galerie
1949-
Rene Drouin,
March
4-26,
Fig. 3i
Francis Picabia:
Woman
Oil on canvas
Collection
(?),
dimensions unknown.
unknown.
45
FoilClS
lCclDlS
New
titles,
dates
Some minor
tions have
all
is
as
complete
as present
known
knowlearly
arc
employed
references.
Complete
names and
and the
may
literary
be found
works shown
46
at
the
Guggenheim Museum.
l.r.
"Francis Picabia/1900"
Provenance:
Galerie
Mona
November-December
1961,
no. 1
Musee
no.
March 20-May
15, 1962,
New
York
dans
la
Montigny
I.
(Lever de
Signed
1.1.
"Picabia 1905"
Galerie
Haussmann,
Picabia, Paris,
no.46
Sale, Paris,
March
8,
1909, 110.16
t 4
From
1.1.
"Picabia 1906"
David Montagu,
London
Provenance:
Unknown
Exhibitions:
Galcric
Haussmann,
Picabia, Paris,
no. 19
Hotel Drouot,
Paris,
May
no
Provenance:
Galerie Lorenceau, Paris
.
Paris
Exhibitions:
no. 67
Haussmann,
Picabia, Paris,
t 6
(Saint-Tropez vu de
From
1.1.
"Picabia 1907"
David Montagu,
London
u.r.
the Citadel.
la Citadelle).
(7 2
1909
"Picabia 1909"
Provenance:
Provenance:
Unknown
Exhibitions:
Exhibitions:
Picabia,
London, October-
March
17-31,
1909
Galerie de Paris, Les
June
t 7
The Church
(L'Eglise de
at
Montigny,
effet
de
soleil).
1908
Amis
Inscribed
eifet
l.r.
/ s
"
(100
x 81 cm.)
de Soleil 1908
Montigny
F. Picabia"
New
York
Provenance:
Private Collection, France
Exhibitions:
March
17-31, 1909,
110.13
This painting
sizes a
at a
Fauve
color.
Neo-
May
March
at the Galeries
Georges
Oil on canvas, 39 3 /s x
de Saint-Tropez, Paris,
2-
Fi&fa4&ft&ft
I.e.
The Solomon
R.
York
Provenance:
M.
Exhibitions:
New
1,
Decades,
New
23,
the
1966
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
I0
Woman
Femme
au
Mimosa). 1908
Oil
canvas, 45 5 /s
011
u.r.
"Picabia 1908"
Mona
Lisa, Paris
Exhibitions:
March
17-31,
1909, no. 22
Grand
lgo^-iaog, Paris,
This
March 22-April
his
Gabrielle Buffet.
ii
u.l.
/s" (73
1909.
x 60 cm.)
"Picabia 1909"
Provenance:
Palais Galliera, Paris
M. Arniand
Charles, Paris
Exhibitions:
March
17-31,
May
2-June
1909
Galerie dc Paris, Les Amis de Saint-Tropez, Paris,
10, 1961, no. 77
Musee
no.
March 20-May
15,
1962,
Like
"tew
this
painting
was probably done during Picabia's honeymoon in SaintTropez and exhibited in March 1909 at the Galeries Georges
Petit.
12
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
13
y/s x 9'/:"
(18
l.r.
1 14
Signed
"Picabia 1909"
Mona
l.r.
at Cassis.
(Paysage
a Cassis), c.
-5
1909
cm.)
"Picabia"
Collection
Reisncr, Scarsdale
Provenance:
Provenance:
Galerie
Landscape
x 24 cm.)
Restricted
Lisa, Paris
Exhibitions:
Mona
November-December,
Musee
March 20-May
(first
1961, 110.7
15, 1962,
in
110.9
Institute ot
Contemporary
110.5
Arts, Picabia,
15
9^/4
1.1.
Provenance:
University of Mexico,
November
iCfVfr*t.~.y4t>4
1962
Paris
c~
59
16
The Torrent.
Signed
l.r.
"'Picabia'*
Museum
2,
May
Morsbroich Levcrkuscn,
1967, 110.3
Picabia,
February 7-April
17
The
Signed
"F. Picabia"
l.r.
New
York
Provenance:
Sotheby's,
London
[8
l.r.
cm
"Picabia 1911"
Henry Daher,
Paris
Exhibitions:
Musee
March 20-May
15, 1962,
no. 1
Picabia,
11
19
Adam
Galerie
Mona
November-December
1961,
no. 1
Oil on canvas, 39 3 /s
/ s
"
(100
Simone
81 cm.)
Musee
1"
March 20-May
15, 1962,
Collinet, Paris
Provenance:
Museum Morsbroich
M. Kleinman,
no. 16
Picabia,
Paris
Exhibitions:
5,
1956, 110.3
London, October-November
Picabia (110.20).
in other
site in
Grimaldi,
contemporary paintings by
20
The Red
Signed
l.r.
Collection
February
"Picabia"
Simone
Collinet, Paris
Provenance:
(no. 22).
Exhibitions:
November 4-December
1964, no.9
Museum
2,
64
Morsbroich Leverkusen,
1967, no.9
Picabia,
Years,
October
February 7-April
9,
21
la
Creuse).
Literature:
c.1912
Surrealist Art,
New York,
1969, p. 44
Signed
l.r.
"Picabia"
but
Mme.
New York
Buffet-Picabia, Paris
Rene Drouin,
491, Paris,
Picabia,
March
1949, no.7
New York,
December
7,
1953-January
it
more compatible
S,
New York,
1954, no.i
Ann
Arbor,
it is
far
scrapbook maintained by
Exhibitions:
Galerie
Mme. Olga
Picabia.
t22
Dances
at the Spring.
Oil on canvas,
Inscribed
l.r.
W/i
(Danses a
W/i"
la
Source). 1912
la
'alter
The Solomon
Source"
Louise and
December
R.
Gallatin Collections,
New
Arensberg and
1961
16,
Provenance:
Literature:
The
Claude-Roger, La Comedie
Artist
Munson-Willianis-Proctor
Institute, Utica,
110.415
Artistique, Paris,
October
5,
1912,
pp. 62-S
Exhibitions:
no.1351 or Galerie de La
P-33
Boe'tie,
i-Novembcr 8, 1912,
La Section d'Or, Paris,
New
Brown, The
110.55
Golding, Cubism,
June i-Novcnibcr
1,
1933, 110.786
the
New
15)
Story of the
196LP.154
Rubin, Dada and
Surrealist Art,
New
Art,
New
York, 1969,
York,
p. 44
Dances
d'Automne.
123
l.r.
47'/->"
New York
Provenance:
New
York
Andre Breton,
Marcel
the
Paris
Duchamp
artist
Exhibitions:
Galeric de La Boetie,
La
October 10-30,
1912, 110.124.
New York,
February 17-March
15, 1913,
Hotel Drouot,
Duchamp
Sale, Paris,
March
8,
1926, 110.7
67
December 9-3 1,
1930,110.5
Rene Drouin,
Galerie
March
401, Paris,
1949, no. 10
Paris,
January
1953, 110.100
9,
29-November
New
York. September
1958, 110.53
1,
Munson- Williams-Proctor
New
Street Settlement,
New
York,
April-May 1966
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
Habasque, Cubism,
Paris, 1959,
pp.141-2
Brown, The
Story
of the
Picabia,"
p. 37
p.
53
Museum
University, and
of Art, Rhode Island School of Design, Rothschild
Collection,
Will-Levaillant, "Picabia et
la
machine," Revue de
I'art,
Surrealist Art,
Procession Seville
is
New
York, 1969,
p. 44
procession, Procession,
Of fair
I
gain
But
Seville's
a faint
still
am
towers
impression
several hours
of that "procession."
(Maurice Morris, The Sun, New York,
February 23, 1913)
in rear
24
tristc).
1.1.
1912
1
19.5 cm.)
H. Knox Foundation,
Seymour
Inc.
Provenance:
artist
Exhibitions:
Galerie de La Boctic,
La
October 10-30,
Galerie
no.
Mona
November-December
1961,
Musee
Cantini, Picabia,
March 20-May
Section d'Or,
110.38
Museo Nacional de Bellas Artes, tog Works from the AlbrightKnox Art Gallery, Buenos Aires, October 23-November 30,
1969, 110.23
Literature:
specific association
dominant
68
color, blue,
is
made
in this
painting between
its
state ot "sadness."
69
|25
New
York. 1913
Watcrcolor and
Inscribed
l.r.
gou.iclic, 2i
"Picabia 1913";
The Art
Collection
Institute
/a
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,
Paris Painter,"
New
Camera Work, New York, vol. 42-3, April-July 1913, pp. 4851. These reviews and interviews are relevant for nos. 25-29
26
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
f27
Negro Song
I.
Literature:
The
Watercolor, 26'/s x 22" (66.3 x 55.9 cm.)
Inscribed
I.e.
"Picabia";
u.l.
March
"Chanson negre"
Stieglitz
Collection, 1949
iS, 1913, p. 12
Arts,
New
Ideas,"
Picabia,"
Provenance:
LeBot,
Alfred Stieglitz
Museum
[291], Picabia,
Musee
no.22
Surrealist Art,
New York,
1969, p. 53
New
A critic (sec
Collection,
March 20-May
New
The
New
New York,
friends
took him to
15,
1962
consciousness
New
when he heard
York Sun,
March
1913).
|28
Star
etoile et
Exhibitions:
of the Photo-Secession
York, March 17-April 5, 1913, 110.4
Little Gallery
Philadelphia
Stieglitz,
Inscribed
l.r.
"Picabia 1913";
u.l.
"Danseuse
de danse"
Museum
New-
March 1944-January
[291], Picabia,
1947, 110.106
10-August
Stieglitz
Literature:
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
[291], Picabia,
New
November 4-Deccmber
5,
1964, 110.10
l.r.
"Danscusc
u.r.
etoile sur
un
Museum Morsbroich
2, 1967, 110.13
Collection
Simonc
Collinet, Paris
Literature:
Provenance:
Mme.
Guillaume
Will-Levaillant, "Picabia ct
Apollmairc, Paris
la
machine," Revue de
I'art,
Paris,
^30
Reverences. (Reverences),
c.
191
"/a"
(75
54.5
cm.)
Inscribed
I.r.
"Picabia";
"Reverences"
u.l.
Provenance:
Galerie Jeanne Biicher, Paris
Exhibitions:
work
110.10
(no. 45).
75
76
1"3 1
1.1.
Collection
Girl; Dance).
americaine; danse)). 19 13
fille
ilS'/s" (300
x 300 cm.)
"Udnie"
Paris
Provenance:
The
artist
Exhibitions:
November
15,
1913-January
5,
1914, 110.1676
Literature:
Le Matin,
Paris,
December
1,
1913, p.i
May 20,
1948
Litteraires,
(attrib.)
New
Will-Levaillant, "Picabia et
la
machine," Revue de
p. 3 13
I'art,
Surrealist Art,
New York,
1969, pp.44, 53
provoked
hostile criticism
these complete
titles at
when
first
(Ecclesiasti-
exhibited under
described
by Apollinaire (Adema,
Apollinaire,
New York,
New
*32
l.r.
November
15,
1913-January
5,
1914, 110.1675
300.5 cm.)
Collection
Mrs.
Exhibitions:
(ecclesiastique)). 191
Galeric
Rene Drouin,
491, Paris,
March
1949, no. 11
Museum
Provenance:
the artist
The Art
Institute
of Chicago, Paintings
in the
Art
Institute
of
Museum
[Rubin, ed.[
78
Surrealist Art,
New
+ 33
Catch
as
Gallatin Collections,
u.l.
"Catch
as
I.e.
Musee
"Edtaonisl 1913";
3"
New York,
Arensberg and
February 7-April
1961
15, 1962,
no.20
Kunsthalle Bern, Picabia, July 7-September
16,
March 20-May
2,
1962, 110.5
Literature:
Provenance:
I'art,
Andre Breton
Marcel
Mme.
Duchamp
Exhibitions:
The Modern
Gallery, Picabia,
New
no. 1
commemorated
Hotel Drouot,
Duchamp
Sale, Paris,
March
8,
1926, no. 10
November
7-30, 1927,
no.13
Museum
New York,
December
the
Philadelphia
no. 159
abstraitcs,
pp.68-9)
the artist
Museum
Collection, 1954,
Can.
content incorporating
somehow
1 34
Literature:
Oil on canvas, 35
/>
x 46"
(89.5
x 117 cm.)
ic
The
New
Art
Institute
6,
First
Annual Exhibition
1917, 110.76
the
December
Philadelphia
1954, 110.160
Museum
in all
of
nature or in the
Thiesson, accused
Exhibitions:
is
35
"Little"
Udnie. c.1913-1914
Oil on canvas, 77
Inscribed
l.r.
/.
"Picabia";
u.l.
whose
Provenance:
The
"Udnie"
Marriage comique,
possession
artist
Exhibitions:
Musee
March 20-May
15, 1962,
"Little'"
La petite Udnie
no.21
2,
1962, no.6
title
in
is
36
Inscribed
x 7V4"
l.r.
(24.
c.1913
19.5 cm.)
"Picabia"; u.r.
"Udnie"
Mme. Simone
Collinet
Exhibitions:
17-March
30, 1966,
no. 50
Museum Morsbroich
2, 1967,
no. 1
in Italia,
37
c.1913-1914
Watercolor on composition board, 21 '/a x 25 '// (54 x 64.S
cm.)
Inscribed
l.r.
"Picabia";
1.1.
"Impetuosite Francaise"
May
16-June 30,
1958, no. 25
Musee
March 20-May
15, 1962,
no. 23
2,
1962, no.
38
Exhibitions:
Animation. 19 14
Watcrcolor, 20
Inscribed
1.1.
/4
251/4" (52.8
"Picabia 1914";
Rosamond Bcrnier
u.l.
Collection,
64.1 cm.)
"Animation"
New York
Spirit in Its
Time, London,
2,
1962, no.
84
of "animation."
39
l.r.
"Picabia 1914.";
Collection Mrs.
M.
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
8,
1926, 110.16
5,
1956, no. 12
t-jo
Sec Again in
on canvas, 9S
Inscribed
Cliere
I.r.
/:
x 78
"Picabia";
"Je Revois
New
York
Paris
the artist
En Souvenir
Ma
Udnie"
Collection
Leonce Rosenberg,
>/j"
1.1.
Provenance:
Exhibitions:
Art.
New
York,
New-
[291], Picabia,
December
9-31,
1930, 110.7
Galerie
Rene Drouin,
41)1,
Paris,
March
1949, 110.9
Literature:
Arts,
Camera Work,
in
Picabia,"
New
Art,
York,
1961, p. 156
New York,
September-December
Rubin,
ed.,
1966, p. 3 13
New York,
la
1968, p. 27
in
Europe, 1S80
to
machine," Revue de
1940,
I'art,
Paris,
no. 4, 1969, p. 78
Surrealist Art,
New York,
1969, p. 54
The
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
x 21.6 cm.)
l.r.
"Fille
Stieglitz Collection,
New
New York,
September-December
The Alfred
November
1966, p. 314
York,
1949
Will-Levaillant, "Picabia et
la
machine," Revue de
I'art,
Provenance:
Surrealist Art,
New
York, 1969,
p. 53
Alfred Stieglitz
This drawing
Exhibitions:
Modern
New
no. 12
New
Stieglitz, 1948,
ed.,
New
Literature:
Picabia,"
Memory
My
(no. 40),
(reversible to
no. 121
Dear Udnic
Gallery, Picabia,
is
it
woman
as a
87
T42
Here, This
1915
Tlie
9,
Machine,
1969, p.87
Literature:
x 20"
Ink, 29'/ s
Inscribed
l.r.
"F.
(75.9
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"
Sticglitz Collection,
Alfred
1949
(ed.),
New
New
Bulletin,
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,
p.
56
Sticglitz,
March 1944-
his
New
New
Number
Armory Show,
Philadelphia
la
Exhibitions:
December
ed.,
p. 3 14
new
of 1915.
*43
les
Manners
moeurs en
Exhibitions:
riant).
Modern
Gallery, Picabia,
1916,
110.10
1915
l.r.
"Lc Fidele/Picabia";
u.l.
i&'/i" (58.5
x 47 cm.)
"Gabrielle Buffet";
Literature:
l.r.
moeurs en
riant"
New York
New York,
1968, p.92
Provenance:
Cordier-Ekstrom,
Brook
Marcel
Inc.,
Street Gallery,
Duchamp
the artist
New York
London
In the early
fall
who was
mocking
signature
by Picabia "the
his fidelity.
faithful"
t44
This Thing
Is
Made
to Perpetuate
My Memory.
Novcmbcr
(Cette chose est faite pour perpetuer nion
16, 1946,
no. 5
(as
"Les Disques")
3-April
4,
in Painting,
New-
i960
1.1.
Chose Est
"lis Tournent";
N'Entendrez Pas"
1.1.
l.r.
Faite
Pour
Comme
Lc Jour";
"Vous Avez Des Oreillcs Et Vous
Literature:
New
York,
The
Arts
Club of Chicago
Bulletin,
New
p. 3 16
Provenance:
The Rose
Fried Gallery,
Mine. Buffet-Picabia,
New
York
Paris
Beginning with
Exhibitions:
Modern
Gallery, Picabia,
comments
5-25, 1916,
no.
Paris,
January 28-February
probably
110.5 (as
Au
"C'est clair
well as
titles
black discs as
gramophone
45
no.4
Oil and metallic paint on board,
39'/-4
39'/j" (99-7
x 99-7
cm.)
December
Inscribed
fait
l.r.
pas l'eloge
Collection
du temps
1.1.
"Objet qui ne
passe"
The
New
York,
Museum
10-May
of Art,
4,
1964
1014,
October 6-November
15,
Gallery, Picabia,
New
no.
Rene Drouin,
Buffet-Picabia, Paris
Galerie
Picabia,
1954, 110.2
New York
Exhibitions:
Au Sans
Baltimore
8,
Literature:
May
Modern
1953-January
1964, 110.186
Provenance:
Mrs. Sadie A.
Michigan
7,
Collection
Mme.
jgi, Paris,
March
1949, 110.15
46
la
doulcur).
17-March
30, 1966,
110.52
1915
Oil on board, li'/ix 31
/;"
(80 x 80 cm.)
Museum
April
September
Collection
Simone
Heritage,
Inscribed
l.r.
Collinet, Paris
Modern
Gallery, Picabia,
New
110.7
92
1964, no.
2,
November 4-Dccember
Morsbroich Leverkusen,
Picabia,
February 7-
1967, no. 14
Provenance:
17, 1966,
110.195
Rubin,
cd.,
New
9,
1968,
47
sans
nom).
1915
Galerie
Gouache and
(120.6
metallic paint
on board, 47
ji
x 26"
1.1.
Collection
"Machine Sans
of Art, Carnegie
Nom"
Institute, Pittsburgh,
Pennsylvania
Thompson
February 1950,
Classic Tradition in
110.3
Contemporary
December
7,
1953-January
8,
Picabia,
New York,
1954, 110.3
New York.
Exhibitions:
Modern
1949, 110.14
Provenance:
G. David
March
New York,
"Picabia"; u.r.
Museum
491, Paris,
Picabia,
x 66 cm.)
Inscribed
Rene Drouin,
Gallery, Picabia,
5-25, 1916,
Brown, American
Armory Show
to
The
48
Midst of Suns.
soleils).
'/:"
Inscribed
l.r.
(Petite
c.1915-1920
x 34.5 cm.)
(48
"Picabia";
u.r. "Petite
1.1.
17-March
30,
1966, 110.63
in Italia,
Museum Morsbroich
2,
1967, 110.31
iqiS,
May
8-September
is,
1968, 110.197
Literature:
Museum of
New
p. 85
York, 1968,
Midst of Suns
Gallery,
New
(first
exhibited by this
now
title at
Modern
the
unknown. At
is
least
and
collection in Stockholm,
Gallery in London.
Still
a third
more
formerly
versions are
at
the Kaplan
known through
size,
media and
perhaps in 1920
La Cible,
Paris, 1920)
original
booklet
with a deluxe
have hand-
may
tinted.
No suggestions
until recently
Little Solitude.
Museum of Modern
Art,
New York,
title
1.
Soleil ecclesiastique
2. Soleil
3.
interne de lycee
4. Soleil orhcier
5.
supericur
The
at the top.
94
49
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
by
"Fille
nee sans
"Barcelona Picabia"
u.c. effaced
le
pouvoir"?
New York
Provenance:
Brook
Street Gallery,
London
Exhibitions:
30,
1968-February
9,
1969, p. 83
50
vite).
c.1916-1918
Gouache on board,
Inscribed
1.1.
"1
l.r.
191/.,
"Picabia"; top
Femmc/2 Homme"
New
York
Provenance:
May
5-June
1,
1964, 110.2
in Italia,
17, 1966,
no. 196
Museum
2,
Morsbroich Leverkusen,
February 7-April
1967, no. 1
96
Picabia,
Rubin,
ed.,
New York,
March 27-June
9,
196S,
51
c.1916-1917
l.r.
"Picabia";
1.1.
Gallery,
Inscribed
l.r.
"Mecanique"
New
York
Provenance:
Provenance
Weyhe
52
New York
Exhibitions:
Exhibitions:
Picabia,
New York,
New York,
15-May
1953, 110.167
artist,
of a mother.
Musee
March 20-May
15, 1962,
no.24
9,
2,
1962, no. 10
Picabia,
Literature:
Will-Levaillant, "Picabia et
la
machine," Revue de
I'art,
No known
"New York
IVeo&a.
p. 35).
home
53
the
Movement of the
Moderna Museet,
September
mouvement
cle la
machine),
c.
[sic| le
Rorelse
3, iyfii,
Konsten, Stockholm,
19 16-191
Musee
May
17-
110.143
2,
1962, 110.13
March 20-May
15, 1962,
110.28
l.r.
"Picabia";
1.1.
[sic]
Le
Mouvement Dc La Machine"
Collection
Simone
Collinet, Pans
November 4December
1964, 110.12
Provenance:
Mme. Germaine
Everhng-Picabia, Cannes
17, 1966,
110.198
Exhibitions:
Museum
5,
1956, 110.15
19, 1958,
2,
Morsbroich Leverkusen,
Picabia,
February 7-April
1967, no.25
Literature:
110.194
Stedelijk
Will-Lev.iillant, "Picabia et
Paris, 110.4, IQ 69. P-7&
la
machine," Rente dc
I'art,
5,
t54
Amorous
Galerie
Rene Drouin,
4Qi, Paris,
March
1.1.
I.e.
December
"Parade Amoureuse''
4,
Simone
November 20-
1951, no.i
New
9,
1949, no. 17
30,
1968-February
9,
1969, p. 89
Collinet, Paris
Literature:
Marcel
Duchamp
the artist
Exhibitions:
New York,
Cirque d'Hiver,
Hotel Drouot,
Paris,
December 1919
Sale, Paris, March
Duchamp
1968, p. 89
Will-Levaillant, "Picabia ct
S,
1926, no. 26
December
9-31,
1930, no.9
110.4,
la
machine," Revue de
As noted by Hulten
(see Literature
above), there
Barr, ed.,
New York,
March 2-
Museum
Fantastic Art,
Dada and
December
7,
Surrealism,
p.
of Modern
art,
Vart, Paris,
1969, p. 80
its title
is
nothing
triggers
195
99
t>5
0.1916-1917
Ink. tempera
"4
>
X94.3 cm.)
Anonyme
Provenance:
Marcel
Duchamp
Exhibitions:
December
5,
The Solomon
and Fantasy,
R.
New
Anonyme, November 3-
Guggenheim Museum,
May
York,
New
Sociite"
1921, no. 32
York, November
Rousseau, Redon,
31-September
8,
1968
30,
1968-February
9, 1969, p. 95
Literature:
la
machine," Revue
de
I'art,
56
Portrait
in
Hand.
c.1917
Ink and watercolor on board, 22 x i7 7 /" (56 x 45.5 cm.)
Inscribed
"Francis Picabia";
1.1.
u.l.
I.e.
r.c.
l.r.
Hand";
"II
Barcelone", and
A Tout Le Monde/D'Aller A
"A Mi-Voix"
New York
Exhibitions:
November
18--
New
York,
New
May-
June, 195
December
1953-January
7,
8,
Picabia,
New York,
1954, 110.4
November
1957
January 1962
Four
iN
Ham
The Solomon
o
Drawings,
R.
Guggenheim Museum,
New
York, November
Art,
30,
20th Century
1963-January
1968-February
9,
5,
1964
ed.,
1969, p. 88
Literature:
New
New York,
LeBot,
1968, p.88
127-8
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
Mme.
Buffet-Picabia
of Marie Laurencin
and
machine form during
with the
Mme.
effect
of a ventilator
this
t57
Music
la
Is
peinture).
c.
comme
est
1913-1917
I.e.
"Picabia";
u.l.
Comme
La
Peinture"
Collection N. Manoukian, Paris
Provenance:
M. Jacques Douect,
Paris
Exhibitions:
Annual
Artists, First
1917, no. 77
6,
Picabia, Paris,
December
10-25,
1920, 110.45
December 9-3
1930, no.
Rene Drouin,
Galerie
jgi. Pans,
March
December
4,
November 20-
195 1, 110.10
Musee
1949, 110.13
Sale, Paris,
May
March 20-May
15, 1962,
110.25
KunsthaUe Bern,
Picabia, July
7-September
1962, no. 11
2,
Literature:
Music
Is Like Painting offers a simple, striking visual experience - and puzzling questions of fact and interpretation.
It is first
The
documented
in
New
York
at
However,
it
was
and
symbolist concept of
correspondance.
While
Picabia's espousal
of correspondance
is
well-
original
The Manoukian
version
is
probably the
in size
Rauons
:auons v"
58
Music
Is
comme
est
I.e.
"Picabia";
u.l.
Comme
La
Peinture"
Collection Prof. Guido Rossi, Milan
Provenance:
May
5-June
1964 (not
1,
in catalogue)
17-March
30, 1966,
110.51
in Italia,
Museum Morsbroich
2,
59
1967, 110.16
Signed
l.r.
//' (75
x 49 cm.)
on reverse
Provenance:
Mme. Germaine
Everling-Picabia, Cannes
Exhibitions:
"
5,
1956, no.16
^fr-
no. 198
Mona
November-December
1961,
110.19
^7
2,
1962, 110.28
Picabia,
November 4-December
5,
1964, no. 13
17, 1966,
110.204
Museum Morsbroich
2,
1967, 110.28
Abstract Lausanne
is
another unique
work
in Picabia's
contemporary production,
own
abstract
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
it is
the sea.
To NE
rtouRRAi
f*S
TouT EMflFR,
v_y
t6o
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
Andre Breton,
Paris
Exhibitions:
Galerie
Rene Drouin,
491, Paris,
Picabia,
March
New
1949, 110.22
Musee
New
110.12
York,
March 20-May
15, 1962,
no. 29
2,
1962, 110.14
Apollinaire
j6i
Bring
Me There.
(M'amenez-y). c.1918-1920
2,
1962, 110.29
x 102.9 cm.)
"Portrait
1.1.
17, 1966,
no. 1 99
"Francis Picabia";
"M' Amenez-Y"
c.
t.
l.r.
40'/2" (142.5
Heritage,
A L'Huile De Rincin!";
Rubin,
ed.,
New York,
March 27-June
9,
1968,
110.266
Literature:
L'EvSque"
Collection The Museum of Modern Art,
Helena Rubenstein Fund, 1968
New York,
New York,
Provenance:
Estate of Jean (Hans)
December
Musee
no.32
was current
fig. 1 1), and
November
Arp
Exhibitions:
4,
November 20-
195 1, no.6
March 20-May
15, 1962,
in other
Beware
la
of
Wet
Exhibitions:
Au
peinture). c.1917-1919
Hotel Drouot,
Oil,
(93
/:
x 28-74"
a la
Galerie
Peinture";
March
8,
1926, no. 19
December 9-31,
jgi, Paris,
Picabia,
New
New
March
1949, no. 18
York, November
5,
110.5
1956, no. 14
30,
1968-February
9, 1969, p.
86
York
Duchamp
the artist
PRLNEZ CAROL
New
Provenance:
Marcel
Rene Drouin,
Sale, Paris,
1930, no. 10
Collection
Duchamp
x -2.5 cm.)
Inscribed at
l.r.
...
PFl
NTUR
t63
York,
November
1968-February
30,
9,
New
1969, p.95
carburateur). c.1919
Literature:
(126.4
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
R.
Guggenheim Museum,
New
York
Provenance
New York
Though
nos.44, 46),
its
reminiscent of his
Child Carburetor
Exhibitions:
November i-December
10, 1919,
no.1533
Galerie Povolosky, Picabia, Paris,
December
10-25, 1920,
no. 44
New York,
pp.195, 257
December
7,
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
is
Libres, Paris,
June 1955,
p. 129).
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
196S, p.95
obliterated
17, 1937,
New York,
"Francis Picabia";
u.l.
January
(fig.
64
Balance, c.1919
^65
1.1.
window)
Serpentins. c.1919-1922
Oil on wood, 24 x iS"
Inscribed
1.1.
"Picabia";
(61
u.l.
x 45.8 cm.)
"Serpentins"
Provenance:
Provenance:
New
York
Exhibitions:
Galerie Paul
Though
Gi
Balance
springs, circles
me, Pans
is
undated,
its
and undulating
lines
is
November l-December
10, 1919,
collection
two
is
versions of Serpentins.
larger
(32x21
'/ 4 ")
66
Alarm Clock
x 9"
Ink, 121/2
Inscribed
I.
(31.8
23 cm.)
"Francis Picabia";
1.1.
l.r.
"Reveil Matin"
27-November
1957
3,
January 1962
1968-February
9,
1969, p. 90
Literature:
York, 195 1,
p.
New
266
in
Memorium, Orbes,
Paris,
April
20, 1955
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
67
Alarm Clock
Ink, 13
Inscribed
10" (33
1.1.
II.
25.5 cm.)
"Reveil Matin"
Collection Prof.
Guido
Rossi,
Milan
Provenance:
in Italia,
Museum Morsbroich
2,
1967, no. 32
Museum
RE\ eiL
MAT
1/
68
Literature:
December
17, 1921, p.
a frame, 35 7 /s
2'j i li
(91
x 70
cm.)
Charbonnier, Lc Monologue du
Inscribed
1.1.
"Francis Picabia";
Dance
center "Tabac-Rat";
u.l.
P-l
oj
Saint
Guy was
work among
Danse de Saint-Guy
It
was described
in Literature
in
above)
(sec
L'Eclw de Paris
as:
Exhibitions:
Paris,
January 28-
November
Galcric
Rene Drouin,
jgt, Paris,
March
December4,
Musee
110.42
1949, 110.24
November 20-
1951, no. is
March 20-May
15, 1962,
(Author's translation.)
in a letter to Picabia
new
when Picabia
Mme. Olga
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$
eunuque). c.1920
Ripolin on board, 291/2 x 4i 3 /s" (75 x I0 5 cm.)
Inscribed
l.r.
"Francis Picabia";
"Machine Co"
Collection
M. von Meyenburg,
Basel
Provenance:
Simone
Collinet, Paris
Exhibitions:
The forms
seem
farfetched.
70
Pencil, io 3 / 4
Inscribed
1.1.
l.r.
8'/2" (27.5
21.5 cm.)
u.l.
"Olympia"
Mme. Simone
Collinet
Exhibitions:
May
2,
5-June
1962, 110.23
1,
1964, 110.9
17-March
30, 1966,
no. 61
in Italia,
Picabia,
February 7-April
2, 1967, 110.30
Literature:
provided by
this
4,
and
1920
life
71
Inscribed
c.
LA
VEuvE "TO'jEUSE
x 73 cm.)
(92
l.r.
(La
u.l.
"Francis Picabia/1921";
1921"
January
New
19, 1922, p.
and
taste for
qualities
of the work
itself.
(9 z\
113
72
Exhibitions:
Galcries
20>/s
x 2i s /g"
x 55 cm.)
Inscribed
l.r.
New York
Dalmau,
December
8,
Hotel Drouot,
"Francis Picabia";
u.l.
"Resonateur"
Duchamp
Sale, Paris,
Picabia,
New
December
Bradley
Picabia, Barcelona,
7,
November 18-
1922, 110.16
1953-January
8,
March
8,
1926, no. 24
New
110.7
York,
1954, 110.5
Provenance:
Resonator
Frank J. Bradley
P.
Roche, Paris
Marcel
Duchamp
the artist
(a
New York
is
of Picabia's
late
and
its
characteristic
first
late
its
preface of that
painted only a
73
Volucelle
c.1922
I.
May
5-June
l.r.
"Francis Picabia";
u.l.
I,
1964, no. 13
17-March
30, 1966,
no. 66
"Volucelle"
in Italia,
Museum
Provenance:
2,
Morsbroich Lcverkusen,
Picabia,
February 7-April
1967, no. 39
Exhibitions:
Hotel Drouot,
Galerie
Mona
Duchamp
Sale, Paris,
March
circles are
among
the
1926, no. 70
November-December
no. 23
1961,
74
Tickets, c.1922
New York,
April
15-May
9,
1953, 110.165
I.e.
"Francis Picabia";
u.l.
"Tickets"
1,
1964, 110.4
17-March
30, 1966,
in Italia,
Mme. Simone
P.
5-June
110.55
H.
May
Collinet, Paris
Museum Morsbroich
Roche, Paris
April
2,
1967, 110.20
Duchamp
Marcel
the artist
Exhibitions:
Galeries
Dalmau,
Deccmber
8,
Picabia, Barcelona,
November
Hotel Drouot,
Duchamp
Tickets first
Sale, Paris,
March
December
18-
1922, no. 15
4, 1951,
no.
8,
1926, no. 30
November 20-
where
appeared
that style
at
was introduced.
Dalmau
exhibition
75
l.r.
"Francis Picabia";
u.l.
"Totalisateur"
15-May
Roche, Paris
May
5-June
1,
1964, no.
17-March
30, 1966,
Museum Morsbroich
Duchamp
April
2,
in Italia,
1967, 110.19
the artist
Exhibitions:
Galeries
Dalmau,
December
8,
Picabia, Barcelona,
November
Duchamp
Sale, Paris,
March
18-
1922, no. 20
Hotel Drouot,
December
9,
no. 54
Marcel
Provenance:
P.
April
H.
New York,
195 1, no.7
8,
1926, 110.31
November 20-
Totalizer (a pari-mutuel
and
stylistic
historical
grounds
76
Conversation
Watcrcolor, 23
Inscribed
l.r.
I.
>/ 2
c.1922
x 28 3 / 8 "
x 72 cm.)
"Francis Picabia";
The Tate
Collection
77
(60
Gallery,
u.l.
Optophone
"Conversation"
Inscribed
London
l.r.
Provenance:
"Francis Picabia";
Mme. Simone
Exhibitions:
H.
1.1.
"Optophone"
Provenance:
Paris
the artist
Dcccmber
1922
Collection
I. c.
November 20-
P.
Mme.
Fernand Leger
Marcel
5,
1956,
Collinet, Paris
Roche, Paris
Duchamp
the artist
Exhibitions:
Abstrait, Saint-Eticnnc,
Galeries
Dalmau,
December
8,
probably Salon
Hotel Drouot,
Picabit
Literature:
11,
Picabia, Barcelona,
November
18-
February 10-March
1923,110.3733
Duchamp
Sale, Paris,
March
8,
1926, 110.67
December 9-31,
1930, 110.12
New York,
Novcmbcr
Galerie
Rene Drouin,
Galerie
Mona
4gi, Paris,
March
An optophone is
1949, 110.39
November-December
1961,
no. 22
Musee
March 20-May
15, 1962,
no.39
Kunsthalle Bern, Picabia, July 7-September
Galerie Furstenberg, Picabia, Paris,
2,
1962, no. 35
November 4-December
5,
1964, 110.15
17-March
30,
1966, 110.68
1968,
no.269
Literature:
Sale, Paris,
New
LeBot, Francis
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,
Inscribed
l.r.
"Francis Picabia";
u.l.
\i' (75
54.5 cm.)
"Sphinx"
New
York
Exhibitions:
Galcries
Dalmau,
December
8,
Picabia, Barcelona,
1922, 110.28
November
18-
*79
l.r.
"Francis Picabia";
u.l.
>/ 4
(75
x 54 cm.)
"Aviation"
Ewing
Provenance:
New York
New York
Castelli Gallery, New York
Parke-Bernet,
Leo
Mme. Simone
Collinet, Paris
Andre Breton,
Paris
Exhibitions:
Galeries
Dalmau,
December
8,
Picabia, Barcelona,
November 18-
1922, no.4
Epstein Collection,
5,
1956, 110.20
Towson, Maryland,
NU
LA
ESPA&NOLf
IT
^s&tcqAj^ i>^
f8o
-Ou: l 'xx/vCU
December
Ripolin on canvas, 63 x 51" (160 x 129.5 cm.)
Inscribed
u.l.
1.1.
l.r.
New
9,
New
November 20-
195 1, 110.9
"Francis Picabi.i";
Private Collection;
4,
York
Musee
Provenance:
d'art
1956, 110.19
5,
March 20-May
15, 1962,
110.37
H.
P.
Roche, Pans
Marcel
Duchamp
the artist
New
2,
1962, 110.33
York, January
Literature:
November
110.1895
Hotel Drouot,
Duchamp
Sale, Paris,
March
December 931,
Rene Drouin,
S-
jqi, Paris,
March
November
Sanouillet,
Dada
S, 1926, 110.3S
1930, 110.15
Galerie
Generations,
3-27, 1967
Exhibitions:
Novcmber
Two
1949, 110.29
Mellow,
March
Lille,
"New York
holes) has
made
the painting
more
interesting for
contempo-
prompting references to Pop Art, hardedge painting, Jasper Johns, Niki de Saint Phallc and others
rary viewers,
(Mellow
in Literature above).
&:>::
l.r.
"Dresseur
D'Animaux"
The
artist
Exhibitions:
no. 1636
November i-December
16, 1923,
Literature:
Whip, "Au
November
S.ilon
7,
December
The
Paris,
1923. p.
1,
1923
(attrib.)
32).
82
Plumes, c.1923-1927?
Ripolin, feathers, macaroni, cane and corn plasters on canvas,
361/a
in a
dowelled frame,
Galerie
Rene Drouin,
491, Paris,
March
1949, no. 32
May
2,
5-June
1962, 110.31
1,
1964, no. 12
17-March
30, 1966,
110.67
in Italia,
17, 1966,
110.209
Museum Morsbroich
Lc Muse
Inquielanli,
Turin,
November 1967-
January 196S
c.
Independants.
as the
The book
London)
at the
1924 Salon
des
was named
"Au
Salon des
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
(110.8 as
"Cadre Mouchete").
83
Exhibitions:
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
8,
1926, no.72
November 20-
no. 24
5,
1956, no.27
M.
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
Tooth
Museum Morsbroich
April
Oil, cord, string, sticks,
31
'/:
and
quill
in metal
Signed
l.r.
2,
1967, 110.37
Inquietanti,
Turin,
November 1967-
Literature:
De
Meurvillc,
Paris,
May
"Unc Exposition
LeBot,
Tri-nationale," Gaulois,
31, 1925
Provenance:
New
Exhibitions:
Galleries Durand-Ruel, Tri-National Exhibition,
June 1925
Galerie
Rene Drouin,
401, Paris,
March
December
4,
Paris,
May-
1949, 110.25
November 20-
May
5-June
1,
1964, no. 11
17-March
30, 1966,
110.65
in Italia,
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.
85
The Museum
Heritage,
cm
x i5
Signed
"Francis Picabia"
l.r.
/" (5*>
x 39
canvas, 22
ot
Rubin,
Modern
ed.,
New York,
March 27-Junc
9,
1968,
no. 264
Literature:
LeBot,
Mme. Olga
Though
Rene Drouin,
491, Paris,
March
1949, 110.26
May
5-June
1,
1964, no. 10
17-March
(deliberate?)
in Italia,
Museum Morsbroich
1967, 110.29
its
formal
30, 1966,
no. 62
2,
documented.
New York,
is
pigments -
ed.,
of Centimeters
Picabia, Paris
Exhibitions:
Galerie
title
which make
fire),
the confusion
the
17, 1966,
(sticks
To
bottom of the
painting.
86
Woman
Femme
au
1959, 110.33
monocle), c.1924-1926
Mona
Galerie
Oil on board, 41
Signed
1.1.
/;
x 29
/:" (105.5
November-December
1961,
110.24
x 75 cm.)
Musee
"Francis Picabia"
March 20-May
15, 1962,
110.44
Collection
Simonc
Collinct, Paris
Provenance:
Andre Breton,
Paris
November 4-December
1964, 110.17
Exhibitions:
December
4,
November 20-
195 1, no.
Museum Morsbroich
April
5,
2,
Picabia,
5,
17, 1966,
1967, 110.42
1956, 110.29
Literature:
87
The
c.1924-1927
Gouache, 41 x 26 3 /s" (104 x 67 cm.)
Signed
1.1.
"Francis Picabia"
Paolo Marinotti
a sibyl.
Exhibitions:
Museum Morsbroich
April
2,
1967, no. 47
88
Idyll. (Idyllc).
c.1924-1927
Exhibitions:
Galerie
Gouache on board,
Not
signed or dated
Collection
Simone
Collinet, Paris
Rene Drouin,
Decembcr
4,
195
1,
November 20-
no. 20
5,
1956, 110.35
Provenance:
1959, 110.41
Andre Breton,
Paris
Mona
November-December
1961,
110.28
Picabia,
November 4-Deccmbcr
1964, 110.18
Museum Morsbroich
April
2,
1967, 110.43
Idyll. (Idylle).
Oil on wood, 41
Signed
1.1.
Upon moving
c.1924-1927
>/ 2
x 29 // (105.4 x 75
1
cm
-)
"Francis Picabia"
Collection
Musee de Peinture
Provenance:
et
de Sculpture, Grenoble
to the
Midi
in 1925, Picabia
exchanged the
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."
90
Picabia's
Toreador. 0.1927-1928
identification of this
Watcrcolor, 29
Inscribed
1.1.
/:
x 21
'/:" (75
"Francis Picabia";
Provenance:
Mme.
Allendy, Paris
x 55 cm.)
u.l.
"Toreador"
indicates a date
work
in early exhibitions,
positive
The
91
ji
i^'j/' (105.5
x 75
cm.)
Signed
I.r.
"Francis Picabia"
Provenance:
Galerie d'Elysee, Paris
Exhibitions:
26-November
15,
1928, 110.3
December
9-31,
1930, no.25
Musee
March 20-May
15, 1962,
no.50
Literature:
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.
92
Luscunia. c.1929
Oil on canvas, 57 7 /s x 54>/ 4 " (147 x 138 cm.)
Inscribed
I.e.
134
93
Manucode. c.1929
Oil on canvas, 39 3 / 8
Inscribed
l.r.
x 31V4"
Exhibitions:
(100
"Francis Picabia";
x 81 cm.)
u.l.
"Manucode"
Rene Drouin,
Galerie
Mona
110.38
Provenance:
Musee
Mine. Bailly-Cowell
110.51
the
artist
March
May
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
(a
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"
Exhibitions:
III,
Picabia,
Museum voor
1964, 110.216
136
on the
Galeric Alexandre
reversal of Christian
t95
Portrait,
c.
193 8-1939
Signed
l.r.
Collection
"Picabia"
Mme. Romain,
Paris
Provenance:
The
artist
Exhibitions:
Musee
March 20-May
15, 1962,
110.60
*g6
11
'/:
i5 3 /"
l.r.
29
x 39 cm.)
Max H.
Welti, Zurich
Provenance:
Unknown
Exhibitions:
2,
Parbe,"
tier
1962, 110.37
March 9-
t97
7091.C.1938-1939
Oil on board, 23'/* x io'// (59.8 x 49 cm.)
Inscribed
1.1.
The
artist
Exhibitions:
Musee
March 20-May
15, 1962,
no. 61
Picabia's brightly-colored, abstract interlace paintings
were
whom he
it is
regrettable that
World War.
Tl <X *> C 5
i
138
98
The Sun
peinture). 1945
Oil on composition board, i7'/2 x H'/s" (44-5 x 36.5 cm.)
Signed
1.1.
OerYentliche Kunstsammlung,
Kunstmuseum
Basel, Gift of
99
'/s
1.1.
(La
26-'/ 4 "
Paloma de
(84
la Paz).
x 68 cm.)
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"
The
artist
Exhibitions:
ioi
floor
Oil on wood, 59
Inscribed
u.c.
l.r.
/j
x 43
//' (152
no cm.)
Auric and
"Bal Negre"
many of the
The
artist
Exhibitions:
18-November
3,
1950, no. 10
Musec
March 20-May
no.63
Literature:
15, 1962,
though
102
Aroma, c.1947
Oil on board, 33
Inscribed
x 27'//
(85
x 70 cm.)
bottom "Picabia";
1.1.
"Aroma"
>/?
Mme. Olga
Picabia
Exhibitions:
May
5-June
1,
1964 (not
in catalogue)
Museum Morsbroich
April
2,
1967, no.73
103
la
Force).
1947-1950
Oil on composition board, 45^4 x 34 5 /" (115 x 88 cm.)
l.r.
The
artist
Exhibitions:
18-November
3,
1950, no. 1
Muscc
no.67
144
March 20-May
15, 1962,
Documents
fill
391,
12
1920
Letters
104
C.211/2X 141/2"
10 Letters
M. Brown,
Springfield,
M. Brown,
Springfield,
Massachusetts
1946-195
flI2
11x8" each
391,
14
1920
C.23
Magazines
'/4
121/2
Massachusetts
j-105
#4
291,
1915
1
Poems
x
1/2
i2'/ 2
"
113
fl06
291,
1917
9 1 /* x 91/2"
5-6
1915
x
i7'/ 4
Cinquante-deux Mirrors
1 1 1/4'
114
9'h~
fi07
Pompes Funebrcs
1918
6"
1919
11
f 115
171/2"
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
191
M. Brown,
Springfield,
7 x 4 V/
Massachusetts
108-bDadaphone
(DADA # 7)
March 1920
17
Poemes
et
Dessins de
la Fille
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
R.
Guggenheim Museum,
New
81/4x8'//
York
Collection Olga Picabia, Paris
no
Cannibale,
#2
1
1920
19
1919
Collection
York
The Solomon
R.
Guggenheim Museum,
New
Ax
5"
New York
120
I2i
Ron-Ron
Poesie
Trahis Par.
1953
71/4x45/4"
63/ 4
Jesus-Christ Rastaquouerc
132
1920
9 x
x 4 //
1
Domain Dimanchc
'954
6'/ 2
"
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"
!
New
York
134
124
Chi-Lo-Sa
Laissez
1950
1
X 10"
12'/:
Debordcr
le
Hasard
1962
9"
'Ax
"[125
draft
of Lc Moindrc Effort
poem
(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
1921
127
Pour
et
Contrc
Handbill
1950
M. Brown,
Springfield,
Massachusetts
5'/x3'/.'
Collection Olga Picabia, Paris
128
137
for Rclachc
14 x 10"
195
5
Program
1924
Lc Saint Masque
x 5"
138
129
I9S2
II
Fleur
Montrcc
1952
6>/4
x 43//
146
les
Borgnes
S'/j"
x 9"
130
591
139
Picabia
by Edouard Andre
1908
10 x 81/4"
New York
New York
13
5
Chronology
1879
1886
Mother
household by
and servants.
1895
1899
Began
Hum-
Resumed
Francais.
bert, Charles
1902
Met Georges and Rodo (Manzana) Pissarro who introduced him to their father. Picabia's first Impressionist
1903
1905
First
paintings
one-man exhibition
at
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
Met
1909
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
mind
La Section d'Or.
191
Visited
New
York
for the
Orphism and
work.
art.
Stimulating friend-
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
in
New
mechanomorphic
late
1917
in January.
in April.
first
Paris in
Everling.
ly i S
Sought
of his perso-
1926
Duchamp
gradually became
bia. Picabia
little
1919
the
Da-
1928
live
1920
open
Dada season
exhibitions,
in Paris. Proliferation
of spectacles,
articles.
Picabia's
new
works most
Renoir.
Conflicts
among
92
May,
Picabia
Exhibition
at
Dada
the
"Transparencies."
1930
1923- Beginning of documents on the so-called "Dada colla1924 ges" and the "Monster" style.
1945
Picabia's indiffer-
activity in Paris.
148
art.
1925
work.
Sarcastic support
1924
his
in August.
1
dominated
fields.
poems.
Built Chateau de
in the Midi.
bia's
1953
November
illness
30, 1953.
precluded
further work.
Died
Bibliography
This bibliography contains
and
all
a selection
on the
extensively
it relies
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.).
I.
A.
of clippings,
scrapbooks
thirteen
By
letters,
Picabia
Writings
"Que
tu 291 ?"
fais
New
Camera Work.
1914, p.72.
Statement. 291.
"Une
Rongwrong.
New York,
New York,
110.2,
May
nuit Chinoise a
1917.
New
York."
1917.
et
Dessins de
la Jille
le
1918.
November
December
24, 1918.
15, 1918.
December
191S.
Preface
Eugene
Figuiere,
April 1919.
by Udnie.
Au
by Tristan Tzara.
Litteratnre.
Paris,
1920, p.2.
"Le Rat
February 1920.
sans
"A
no. 2,
March
1920.
"Dada philosophe."
Litteratnre.
Paris,
no. 13,
May
1920,
"La Jeune
fille,"
"Bracelet de
110.4,
la vie,"
May
1920.
"Machine de bons
"Le
Mai."
ler
Ribemont-I )essaignes.
"Ich
"Zona." La
Lettrts. Paris,
I 'it
May
11,
Paris,
Sep-
September
"Un
New
"Almanack." The
le
3,
1.
p. 20;
Little
New
York,
"Bonheur moral
bonheur physique." Ca
et
November
Antwerp,
Ira.
Novem-
"Samedi
soir," p. 24.
"Dactylocoquc." Litterature.
ber 1, 1922, pp.io-n.
"Souvenirs de Voyage."
"Fumigations." Tht
October
pp.u-12.
ber
"Lutte contre
le
110.16,
1,
Autumn
1921, p.
par un peintre
p. 2.
[attrib.
Communismc jugc
August
April 1921.
20, 1922,
"Ninie." La
192
August
"M.
Paris,
pp. 1-2.
Au
January
Decem-
Statement,
pp. 3-4;
"Francis Merci," pp. 16-17.
1923,
1,
p. 9;
"Avis,"
p.13;
1921, pp.98-101.
pp. 14-15.
November
23, 1921,
a survey on "Le Symbolisme, a-t-il dit son
mot?" Le Disque Vert. Paris, nos.4-6, February,
Response to
p. 2.
dernier
"Marihuana." Comotdia.
Paris,
December
March-April 1923,
Paris,
January
19, 1922,
ary
p. 1.
January
Open
19,
Tht
New
1,
1923
[attrib.
D.P. IX,
La
Febru-
7c Moderne. Paris,
I'ie
"Le
petit jcu
1922, p. 3.
[attrib.
p. 74].
1922, p. 3.
letter to
p. 91.
March
"Vues de dos."
p.i.
c.
31, 1922,
dit
March
18,
Paris,
et effcts."
14,
May
1,
1923, pp.i-
p.i.
p.i.
2me
serie,
"Irreceptif,"
"Eru-
1923, pp.21-23.
Little
"Cinema." Cinea.
Paris,
c.
May
1922
[attrib.
"A Note on
et le
21,
D.P. VIII,
p.236].
"Le Genie
March
1924, p.i.
May
April 1924,
New
York, vol.V,
110.4,
p. 191.
16, 1922,
p.i.
"lis
May
23,
1924, p.4.
Paris,
July
12,
1922
[attrib.
Paris,
August
5,
5,
1924,
n,
August
Paris,
1924
Summer
by
Picabia, n.p.
2me
serie, 110.4,
1935, pp.20-22.
March
1,
1941
[attrib.].
Uomo,
1944,
November
Paris,
1924, p. 1.
"Goetz" "Christine." Preface for Galerie d'Esquissc, QuclHenry Goetz et de Christine Boumeester. Paris,
ques Oeuvres de
November
21, 1924, p. 4.
November
Thalassa dans
24,
1924.
"Pourquoi
j'ai
Le
[Action or
Reldche."
ecrit
Siecle?]. Paris, c.
newspaper
Unidentified
November
March 27-April
27, 1945.
le
d'Or," September
"Le
"L'Age
1945.
3,
108-09.
XI, p.24].
Explorations.
Vrille,
Paris,
1947.
by Henri
Lithographs
Goetz.
"Pourquoi Reldche
DecemChoix
Henri
ber 2, 1924, p. 1.
Paris,
de
Poemes de Francis
Picabia. Paris,
Parisot, Ed.
December
"Explications Antimystiques."
H WP S M TB
Statement.
Response to
"Dans une
August
Autumn-Winter 1924-25,
M. G. Adams and H.
New
York,
by
Storms.
March
1926
5,
[attrib.
D.P. XII,
p.51].
04.
"Lumiere
7,
20-
May
1949, p.23.
1951.
Texts by
multiple authors.
"Extraordinaire" and poems. Dan
August-September 1952, n.p.
a! Set.
Barcelona, vol.4,
20, i960.
Francis Picabia
Nautique,
1927.
Writings published by Pierre Andre Benoit, Ales
"Picabia contre
March
Paris,
La Loi
Dada ou
retour
le
a la
Raison." Comoedia.
d' accommodation
Paris, Editions
chez
les
borgnes.
"Sursum Cordia".
poemes. January
1,
1949.
de Picabia: Precaution.
March
1949.
Spring-Summer 1928,
PP-29-33"Preface."
petits
Un poenie
La
Guiness. Paris,
December
Innocence.
2-15, 1928.
November
1949.
Dry
Bott.
"Avenue moche."
Paris, no. 2,
Lit.
November
7,
1949.
"Des
Le
Chi-Lo-Sa. 1949.
Bifur. Paris,
Perles
Paris,
Je
n'ai jamais
cm.
May
1950.
Paris,
Pour
December
31,
1929, p. 6.
Le
et
Contre.
May
nioindre effort.
1950.
December
1950.
Le Dimanchc. 195 1.
Paris, no. 3,
III,
Ce queje desire
Pierre
Photographies de
Man
Ray.
Le
1.
Photograph cut by
Andre Benoit.
Saint Masque.
September 195 1.
"Une
Winter 1932-33,
pp.61-63.
"Dans
mon pays."
pp.20-22.
Orbes. Paris,
2me serie,
January 1952.
Ne pensez
Fleur montce.
110.1,
November
Spring 1933,
by Arp.
E.
Ne sommes-nous
391.
March
1953.
Cannibale.
Benoit.
Magazine
La Pomme
Maintenant. iysv
La
May
Francis
25,
1920.
1922.
February 1957.
Carotide.
L'Equilibre. 1958.
Champs-Ely sees,
Entr'acte.
Paris,
by the Swedish
by Erik
and costumes by
Satie.
Filmed
1924.
Theatre des
Ballet,
intermission
for
Reldche.
February i960.
601. Contributions
On
by
directed
1920; 110.2,
Mon
and
founded
Erik Satie.
Laissez deborder
le
March
hasard.
1962.
19,
Engraving by
Giani Bertini.
Theatre
des
Dialogue dans
C.
Interviews
1932.
New
The
New
p. y
Movement."
New
York Tribune.
"A
York, February
1913,
16,
sect.
5,
G.
Illustrations.
New
York."
New
Post-Cubist's Impressions of
York, March
Francis Picabia.
York American.
9,
1913, part
New
tiques. Paris,
II,
p.i.
Au
May
Sans Pareil,
30, 1920.
Budry
ct
Cic., 1924.
p.n.
M.B.
Dadaisme
"Le
qu'une
n'est
farce
inconsistantc."
Editeur, 193
14, 1920, p. 2.
d'artistes."
Le
August
Figaro. Paris,
Antoine Roche
Paris,
1.
Paris,
Ambassador of
Brazil,
1949.
Parisien.
II.
Roger
Paris,
R.
J.
1924
June
1923.
9,
"Chez Francis
[attrib.
D.P. X,
May
1924
6,
1925
D.P. XIII,
Siecle. Paris,
December
6,
January
1,
p. 58].
p. 178].
[attrib.
9,
Marcel Adenia.
[attrib.].
Apollinaire.
Siecle. Paris,
p.].
New
York, Grove
Press, 1955.
"Un
Georges
November
Le
Charbonnier.
Monologue
du
Peintre.
Paris,
I).
Lawrence Alloway.
Le Mdcheur
Ennazus. Unpublished
September
13, 1946.
poem
Letter."
.4rr
International.
"London
New
Margaret Anderson.
My
Thirty
Years'
War.
New
York,
Home
at
York
and
Times.
April
tout." Litthature.
Paris,
nouvelle
1,
Brentano's, 1945.
Pacific Exposition
Surrealisme
et
New
peinture.
la
York,
Christian Brinton.
Spirit in
1916.
Guillaume
Les
Apollinaire.
Peintrcs
Cubistes.
E.
Paris,
Brooklyn
Figuiere, 1913.
Guillaume
Apollinaire.
Paris, 1965. L.
New
Modern
December
Note on Salon d'Automne.
Arlequin. Paris,
Noel Arnaud. La
Religion
Verviers, Belgium,
Temps
I,
p.122].
New
Confident Years.
York, E.
P.
Inc., 1952.
the
Armory Show
to the
la
Meles,
X,
March
la survie
1958.
Gabrielle BufFet-Picabia.
1962, pp.93-101.
Camera Work.
New
York,
the Public."
June 1913,
pp.10-13.
Art
Institute
of Chicago. Paintings
in
the
Art
Institute
of
The
54;
August 1925,
"On demande:
Gabrielle BufFet-Picabia.
New
New
'Pourquoi 391?
Summer
no. 2,
p. 109.
1937,
pp.2-8.
Review of exhibition
Modern
the
at
p. 286.
1,
XXc
Steele,
Gabrielle BufFet-Picabia.
Picabia and
May
Motherwell, Ed.
New
Inc.,
1951, pp.255-67.
31, I966-
May,
1920, p. 2.
Paris, 110.18,
l'art
BufFet-Picabia.
Gabrielle BufFet-Picabia.
mation
"Picabia,
l'inventeur."
L'Oeil.
du
et
"Aux temps du
1,
Futurisme." Infor-
the igij
Gabrielle
BufFet-Picabia.
Aires
abstraites.
Geneva,
Pierre
Pierre
Andre Benoit.
A propos
des
"Poemes de
la file
nee sans
Pierre Cabamie.
"Cinquantc ans de
l'insaisissable." Lectures
la
veille
Myron
Bibline.
Sur
le
chemin
du
II,
1962.
Calvaire.
Golfe Juan,
pour
plaisir
avec Picabia,
November
naire
Examiner.
December 1924
et
Erik
D.P. XI,
[attrib.
P-23]-
Nouvelles.
Bordeaux,
March
Benjamin de
Camera Work.
28, 1913, p. 9.
Casseres.
New
Francaise.
March
29, 1920, p. 2.
Paris,
Georges Charensol. "Au Salon des Independants, Dccouvertes." Paris-Journal. Paris, February 15, 1924, p. 4.
J.-C. Chevalier and L. C. Brcunig. "Apolhnairc et 'Lcs
Peintres Cubistes'." La Revue des Lettres Modemes. Paris, nos.
New
pp. 1 27-28.
Libres. Paris,
Herschel B. Cliipp.
Bulletin.
Rene Edouard-Joseph.
seric, 110.109,
M. F.
March
London,
"Picabia." Artwork.
January-
vol.3, 110.12,
1922, pp.29-34.
Christopher Finch.
Monte
Carlo,
Monaco,
Fixe. See
1927.
vol.i, 110.3,
Raymond
M.
Cogniat. "Pourquoi
M.
Review.
Little
Signac a refuse 2
New
Schulz, Inc.,
York,
1951, Robert Motherwell, Ed.
Dan
"Fixe".
al
Painters
Set
ami Poets,
Special
Dau
al Set.
ans
491, 50
Paris,
de plaisir.
March
4,
Exhibition
1949.
Dada
London,
The
"And
Paris,
'ie.
Wittenborn,
number devoted
Picabia,
to
Picasso.
to
Boston,
Paris,
October
31,
Giedion.
Mechanization
Command.
Takes
New
Press, 1948.
1924, p.4.
Robert Delaunay.
E.N., 1957.
New
catalogue by
Du
Cubisme a
Francastel;
Guy Habasquc.
'ie
December
1913. P-4-
Unwin,
Cubism. London, T.
1913.
des
Juliette
Roche
Gleizes. Memoirs,
I959-I963-
Robert
January
Desnos.
"Francis
Picabia."
Paris-Journal.
Paris,
18, 1924, p. 5.
New
May
New
York,
Strachan.
J.
June
1913.
Lettres. Paris,
28, 1947.
M.
Paris, January 2,
1922, p. 3.
Guy Habasquc.
Stuart Gilbert.
1946, p.21.
p. 2.
Notice of
Post-Impressionists.
Chicago,
"A
in
Europe,
Paris
New
Statement in 291.
New
September-October 191 5.
Jean van Heeckcren. Francis Picabia. Seize
Collection Orbcs, 1946.
dessitts.
l'Institut, 1957.
1930. Paris,
Paris, Galerie
October
George
13, 1921, p. 2.
Isarlov.
Picabia
Orbes,
Collection
Paris,
Peintre.
Has
Ideas."
part
8, p. 5.
Max Jacob.
Correspondance
New
Max Jacob
New York,
1968.
William
Rubin, Ed.
S.
Paris, Editions
23, 1913,
Heritage.
1929.
The
New
March
de Cannes. Cannes,
1913, p. 37.
9,
New
Alain Jouffroy. "Francis Picabia, 1'irreductible." Aujourd'hui. Paris, no. 36, April 1962, pp.S-11. Reprinted in Jouffroy 's
Une Revolution Au Regard, Paris, Gallimard, 1964, pp. 125-29.
The Paintings of Francis Picabia. Unpubof Arts thesis, New York University, Institute
of Fine Arts, February 1955.
Philip Pearlstein.
lished Master
Picabia. Paris,
La Galerie La Cible,
1920.
Philip
Pearlstein.
New
Francis
Picabia." Arts.
Marc LeBot.
Pierre
June
1920, PP.58S-91.
Dan
al
Set.
Aidre Benoit.
New
York,
esp.
vol.3,
Paris,
London, August
Ellen Prevot.
13, 1921, p. 7.
des Independants, Le
Gaston Ravel. "Exposition de Peinture." La Critique Ciuematographique. Paris, October 29, 1929 [attrib. Picabia scrapbook, Olga Picabia].
Man
1963.
."
"A propos
Rolf de Mare.
November
Tribune.
Paris,
Belgium,
May
1921
[attrib.
La
Ncrvic. Braine-Le-Comte,
D.P. VII,
Modem
Ribemont-Dessaignes.
Deja
jadis.
Rene
Paris,
Julliard, 1958.
brume
la
May
des souve-
1962, pp.113-8.
p. 52].
Jacques
Pierre de Massot. De Mallanne a 391. Saint-Raphael,
Exemplaire, 1922.
Au
Bel
Revue
Riviere.
"Reconnaissance a Dada."
August
La Nouvelle
1,
Juliette
Paris,
Poetcs d'aujour-
Photo-Secession Gallery
International.
Louis
January
de
I,
Meurville.
Gaulois. Paris,
Lanteme.
1914, p. 2.
May
"Une
Exposition
Tri-nationale."
D.P. XII,
p. 21].
Surrealist
Art.
peinture francaise.
New
Art.
New
Paris,
York,
Societe
Michel Sanouillet.
du temps, 1964.
"391".
et
Paris,
vol.11,
Michel
Seuphor.
maitrcs. Paris,
Charles
L'Art
abstrail,
Gertrude
ses
origines,
ses
premiers
"Dimensionisme."
Paris,
Plastique.
Stein.
Everybody's
New
Autobiography.
New
New
York, 1917.
February 1916.
New
The
York,
World of
in the
Art."
New
p. 8.
Francis
Photographs and
Co., Ltd,
Verviers, Belauthors.
Moods." Monte-
9 2 7, pp. 296-304.
Le Reveil du Mini.
Duchamp,
Gcrmainc
1919, p. 28.
November
Bibliotheque Nationale.
Picabia
Room,
De Trey and
Glauco Viazzi.
1915-110. 12,
Stieglitz.
1937.
December
Directed by Alfred
Monaco,
110.2,
Random House,
Lille,
p. 308.
Carlo,
New
Philippe
291.
Maeght, 1950,
Sirato.
Summer,
c.
and
and
15, 1929-
1965.
tion
Andre Breton
March 1919-Junc 1924.
Aragon,
Louis
Litterature.
van Hecckeren.
Jean
Picabia,
I'imprevisible.
Entr'acte.
letters
Unpublished
"March 1947."
in Milano, 1945.
dans
I'OeiU...
Libraine
Paris,
Lip-
schutz, 1933.
November
F.
7,
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.
Un
Unpublished
Olga Picabia Scrapbook. One volume of clippings, photographs and unpublished manuscripts.
The World.
from c.1904-1927.
Paris,
Bibliotheque
Litteraire Jacques
Doucet.
III.
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
Tristan Tzara,
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.
Alfred
air.
Stieglitz
Literature,
artists.
The Modern
Exhibitions
Hereafter referred to
May
May
Salon.
Salon.
May
1901.
1902.
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.
October 1904.
15-November
15, 1904.
Preface
by
L. Roger-Miles.
May
Salon.
1905.
Salon d'Automne.
November
November
en Couleurs. Paris,
Grand
1905.
Deuxieme Salon
de la Gravure Originalc
1905.
January
May
Salon.
1906.
November
la
Gramire Originalc en
1906.
December
I'Etat.
1906.
by
L. Roger-Miles.
Grand
Palais.
1907.
Cremetti Gallery.
Salon.
May
Picabia.
1907.
October 22-November
la
Gravure Originalc en
17, 1907.
March
by
L. Roger-Miles.
March
8,
1909.
Societe
Normande
i-November
8,
1910.
Societe
Normande de
Exposition.
Rouen,
la
May
i-November
S,
191
1.
Contemporain. Paris,
November 20-December
by Rene Blum.
Independants.
March 20-May
16, 1912.
La Section
Preface by Rene Blum.
10-30, 1912.
Salon d'Automne.
October i-Novembcr
d'Or. Paris,
8,
October
15-Decembcr
12, 1920.
December 10-25,
Paris,
1920.
1912.
d'Automne.
November i-Dcccmber
Socicte
20, 1021.
Institute
Little Gallery
New
March 19-May
Independants.
Dcr Sturm
MacDowell Club.
iS, 1913.
Anonyme.
New
Salon d'Automne.
8,
1922.
November i-December
17, 1922.
by HerwarthWalden.
1913. Preface
Galeries
Salon d'Automne.
Independants.
De
November
March I-April
15,
1913-January
Amsterdam, May-June
New
la folic
New
1916.
Amateurs d'Art
Salon d'Automne.
9-March
New
de
1923.
12, 1924.
Not
verified.
York,
Annual Exhibition.
First
Lc Salon
et des Collectionneurs.
New
10-
enchere. Paris,
Indipendants. February
New
May 28-?,
The
1923.
May
May
1923.
3,
Societc des
Gallery. Picabia Exhibition.
II, 1923.
York, October
1915.
Modern
Amis
Socicte "Les
June
10-March
Teutoou-
of the Photo-Secession
York, January 12-26, 1915.
Modern
I 'rije
1914.
Little Gallery
New
1914.
Independants. February
stelling.
5,
30, 1914.
8,
by Marcel Duchamp.
New
12, 1918.
Art. Zurich,
May
31, 1926.
29-May
November i-December
Paris,
Salon d'Automne.
February
Galerie
10, 1919.
New York,
7,
1927. Preface
1927.
Cirque
December
1919.
50111c
Exposition.
March
1927.
Not
et
Sculpture Cubiste.
Geneva, February
Picabia. Paris,
October 24-
verified.
March
Not
1920.
1927. Preface
November
11-30,
by Robert Desnos.
verified.
Au
'orfruhling:
1920.
158
Internationale
First Exhibition.
Gemdlde, Skulpturen,
May
Chez
1928. Statement
30, 1920.
Dada-
The Intimate
May
Chez
New York,
15, 1928.
1929. Preface
Exhibition.
New
November
New York,
11, 1928.
12-December
1-27,
by E. Fabre.
7,
1929.
November
Galerie
Goemans. Exposition
Peinture an
deft]. Paris,
Galerie Alexandre
III.
de Collages [Louis
March
Aragon's La
August 1930.
8-November
15, 1930.
Principautc de
Picabia.
1930.
Philadelphia
Museum of Art.
Stieglitz:
March 1944-January
1947.
January 12-February
1946.
3,
Rosenberg.
De
knnst.
Amsterdam, March
Evelyn
Wyld
et
Cannes, August
Paris, April
26-May
sur-irrealistes.
20, 1946.
1932.
Not
c.
May
1946.
verified.
Paris,
November
Goetz.
Art
9-23, 1933.
Institute
of Chicago.
Galerie Alexandre
1' Atelier
Preface
III.
August
iS, 1934.
by Maurice Mignon.
November
by Gertrude
13, 1947.
New York,
Cubist Spirit
in its
Time. London,
March
1935.
June
by Francis
May
30-
Picabia.
verified.
Poem by
Museum of Modern
March 2-April
19, 1936.
Museum
tion.
Gertrude Stein.
New York,
Museum
Galerie
1937-
Paris, April
Picabia.
du Luxembourg.
11-May
1948. Preface
8,
by
Francis Picabia.
November 15-December
recents. Paris,
earlier
4, 1948.
Galerie
1949.
The London
1949. Statement
c.
by
Stein.
Not
Francis
et
Preface
Germaine Everling.
1934.
1924.
10-20, 1947.
Galerie des Etats-Unis. Exposition Germaine Callibert
Picabia.
October 25-November
a.
Statement by Henri
16, 1946.
et dessins
October 18-November
Preface
November
1938.
by Albert Flament.
Not
verified.
Objects, Drawings,
to 1942.
New
York,
18-November
December
3,
1950.
13,
Picabia.
New
November 20-December
Chez
1943-
j>
4,
1951.
by Francis
New
The Lounge
Picabia.
1950-January
12-31,
Art
1940.
Picabia.
December
by Michel Seuphor.
P.
A. B. Assortment de
January
by Rene Char.
toiles recents
December
Breton
19,
[?],
Palais Barberini.
Paris,
January 30-
Apollinaire.
de Saint-Trope:. Paris,
May
2-June
Konsten. Stockholm,
May
17-
Moderna Museet.
3,
Rorelsc
1961.
a Picabia. Paris,
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
May 9,
Contemporary Art.
Classic Tradition in
New
March 20-May
15, 1962.
February 1954.
University of Michigan
Museum of Art.
20th Century
Ann
Arbor,
1955-
les artistes
an
soleil et Jean-Gabriel
5,
1956.
1962.
Picabia, Schwittcrs.
Epstein Collection.
New York,
Towson, Maryland,
Show.
December 28,
1956.
et d'Industrie.
2,
Lebel.
January 1963.
by Jean-Jacques
14, 1956.
Preface
May
1961. Prefaces
PatrickWaldbcrg.
Musee
Musee d'Art
December
The
10,
96
Scptcmber
Hommage
October 1953.
Homages by Charles Estienne, Michel Tapie, Edouard Jaquer,
Roland Penrose, Charles Dotremont and Pierre Alechinsky.
Galerie Cravan.
Amis
April9, 1953.
Omaggio ad
January 1961.
1957.
New
Munson- Williams-Proctor
Street Settlement,
Institute, Utica,
The Solomon
R.
by Milton
Guggenheim Museum.
W.
Brown.
May
16-June 30,
1958. Introduction by Andre Billy; catalogue by Guy Habasque.
November
I,
November
London, October-
1959.
1958.
The Matthiescn
Participating
4,
in Painting.
New
Texts by
10-May
4,
De
Exhibition. East
1964.
i960.
Galleria Schwarz. Picabia. Milan,
Galerie Samiaren.
Patrick
Waldberg.
May
5-June
1,
1964.
Stockholm, February
Museum
November
i960.
Baltimore
et
Precurseurs.
The Solomon
constructif. Paris,
New
5,
Guggenheim Museum.
November 4-
1964.
1961.
November 4-December
R.
4, 1964.
December
Besanfon, 1961.
15, 1964.
16, 1961.
Museum
of
27, 1966.
La Galerie Krugier
et Cie.
1966. Introduction
by Werner Haftmann.
Museum
M. Knoedler and
the
1966.
currents in
1966.
Two
Generations.
1967.
Stadtisches
Museum
February 7-April 2, 1967; Stedehjk van Abbemuseum, Eindhoven, April 21-June 4, 1967. Texts by Rolf Wedewer, Ursula
1,
Decades:
Museum
1967.
Moderna. Le Muse
November 1967-January
Inquietanti.
Turin,
1968.
March 3-April
14, 1968.
1968.
Museum
Institute
Grand
Palais,
ygme Exposition
March 22-April
15, 1968.
Museum
September
15, 1968.
Washington, D.C.
Museum of Modern
May
End of the
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.
Museo Nacional de Bellas Artes. log Works from the AlbrightKnox Art Gallery. Buenos Aires, October 23-November 30,
1969.
Staff"
THE SOLOMON
THOMAS
Curator,
edward f. fry,
WALDMAN
Associate Curators,
GUGGENHEIM MUSEUM
R.
M. MESSEH
glenn
Business Administrator,
viola
Administrative Assistant,
h.
easton,
h.
jh.
gleason
DIANE
margit
Assistant Curator,
Librarian,
Technical Administrator,
Preparator,
Registrar,
roweh
orrin riley
saul fuerstein
Photographers,
robert e. mates
PAUL KATZ
Assistant Conservator,
lucy belloli
Purchasing Agent,
Elizabeth m. funghini
Membership
f.
Secretary,
Auditor,
banach
robin m. green
miriam emden
Administrative Assistant,
Museum
loggin
agnes
linda konheim
r.
Connolly
Works
Photographic Credits
Exhibition
in the
Inc.: no.
24
Supplementary photographs
The Art
Courtesy Pierre-Marcel Adema: pp.
3, 8
Paris: p. 4
Sadie A.
Courtesy Otho
St.
of Chicago,
Institute
May
Art,
Collection: no. 45
6,
12
47
James
Gilbert,
Houston:
Fig. 28
Paris: no. 84
Paris: Fig. 27
John D.
Paris: Fig. 5
Paris: Fig. 3
3,
35
Fig. 31
Schift": Fig. 5
Eugene
Fuller
Memorial Collection:
Fig.
22
New
Haven:
Fig.
29
Galerie
Mona
Andre Koti,
Paris: no. 5
N. Mandel,
New
York:
The Alfred
Museum
Museum
of Art,
of Modern Art,
New
York: no. 40
Nathan Rabin,
New
York: no. 59
du Documentation Photographique
des Musees Nationaux: nos. 15, 31
Service
Marc Vaux:
no. 44
Anonymc,
New
Haven: no. 55
exhibition
70/4
Guggenheim Foundation on
"Francis Picabia:
Retrospective Exhibition"
PHOTOGKAni
IF