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Francis Picabia

French painter and writer (–)

Francis Picabia

Francis Picabia, ,
inside Danse de Saint-Guy

Born

Francis-Marie Martinez Picabia


()22 January

Paris, France

Died30 November () (aged&#;74)

Paris, France

Known&#;forPainting
Notable workAmorous Parade
MovementCubism, abstract art, Dada, Surrealism
SpouseGabrièle Buffet-Picabia

Francis Picabia (French:[fʁɑ̃sispikabja]: born Francis-Marie Martinez de Picabia; 22&#;January – 30&#;November ) was a French avant-garde painter, writer, filmmaker, magazine publisher, poet, and typographist closely associated with Dada.[1]

When considering the many styles that Picabia painted in, observers have described his career as "shape-shifting"[2] or "kaleidoscopic".[3] After experimenting with Impressionism and Pointillism, Picabia became associated with Cubism.

His highly abstract planar compositions were colourful and rich in contrasts. He was one of the early major figures of the Dada movement in the United States and in France before denouncing it in [3] He was later briefly associated with Surrealism, but would soon turn his back on the art establishment.[4]

Early life

Francis Picabia was born in Paris of a French mother and a Cuban father of Spanish descent.

Some sources would have his father as of aristocratic Spanish descent, whereas others consider him of non-aristocratic Spanish descent, from the region of Galicia.[5] His birth year of coincided with the Spanish-Cuban Little War; and though Picabia was born in Paris, his father was involved in Cuban-French relations and would later serve as attaché at the Cuban legation in Paris (see the Treaty of ).

The family ties to Cuba would be important in Picabia's life later on.

Francis picabia paintings Love Parade by Francis Picabia was created in The painting is in private collection. The size of the work is 96,5 x 73,7 cm and is made of oil, gesso, metallic pigment, ink, gold leaf, pencil, and crayon on board. About the Artist: French avant-garde painter, poet and typographist Francis Picabia was born in Paris. Picabia’s artistic.

The family was affluent, and both parents encouraged Picabia to pursue an art career.[6] Picabia's mother died of tuberculosis when he was five, and he was raised by his father.[7]

Picabia's artistic ability was apparent from his youth. In , he copied a collection of Spanish paintings that belonged to his grandfather, switching the copies for the originals and selling the originals to finance his stamp collection.[8] A lifelong philanderer,[2] Picabia eloped to Switzerland in with one of his mistresses, causing his father to briefly cut off contact with him.[7]

Art career

During the late s, Picabia began to study art under Fernand Cormon and others at École des Arts Decoratifs, Cormon's academy at boulevard de Clichy, where Van Gogh and Toulouse-Lautrec had also studied.

He studied under Fernand Cormon, Ferdinand Humbert, and Albert Charles Wallet for two years.[9] From the age of twenty, Picabia lived by painting. Subsequently, he inherited money from his mother, leaving him far wealthier than most of his contemporaries in the art world. He began buying at least one new sports car each year,[2] and ultimately owned over the course of his life.[7]

Early in his career, from to , Picabia was influenced by the Impressionist paintings of Alfred Sisley.

His subject matter included small churches, lanes, roofs of Paris, riverbanks, wash houses, and barges. This led critics to question his originality, saying that he copied Sisley, that his cathedrals looked like Monet cathedrals, or that he painted like Signac.[10] He soon came to feel he was working in an outdated style and began to look for a new approach.[2]

From , his style changed as he came under the influence of a group of artists soon to be called Cubists.

These artists would later form the Golden Section (Section d'Or). The same year, Picabia married Gabrielle Buffet. (They would divorce in )

Around Picabia joined the Puteaux Group, whose members he had met at the studio of Jacques Villon in Puteaux, a commune in the western suburbs of Paris.

There he became friends with artist Marcel Duchamp and close friends with Guillaume Apollinaire. Other group members included Albert Gleizes, Roger de La Fresnaye, Fernand Léger and Jean Metzinger.

Proto-Dada

In , the Association of American Painters and Sculptors held the first major show of modernist art in New York City, which would become known as the Armory Show.

The wealthy Picabia was the only member of the Cubist group to personally attend the Armory Show, as the others could not afford to do so, and he also contributed four paintings.[2] The American press was largely hostile to the show, describing it as bizarre or deviant, but Picabia was widely interviewed and discussed as the only representative of the movement available.

He immediately became a major name in New York's artistic circles.[2]

Avant-garde art dealer Alfred Stieglitz also gave Picabia a solo show, Exhibition of New York studies by Francis Picabia, at his gallery (formerly Little Galleries of the Photo-Secession), 17 March – 5 April [2] There, Picabia displayed work that he had created in the past few months in New York.

Influenced by abstract art from the Armory Show such as that of Wassily Kandinsky, he was now creating abstract works of his own. When he returned to Paris in April , he formally broke with the Cubists.[2]

From to Picabia traveled to New York City several times. During that same era, France became embroiled in war. In , Picabia again traveled to the United States en route to Cuba to buy molasses for a friend of his—the director of a sugar refinery.

He landed in New&#;York in June Though the stopover was ostensibly meant to be a simple port of call, he decided to remain there for a while to continue working on his art.[2] He did not return to France until the war's conclusion.[2]

The following years can be characterized as Picabia's proto-Dada or "machinist" period, consisting mainly of his portraits mécaniques.[11] Picabia was first impressed by mechanical advances on his initial, visit to New York, and on returning to Europe, he was impressed by futurist painters such as Natalia Goncharova and Mikhail Larionov.

Picabia was particularly influenced by the "machine style" of Marcel Duchamp, in which the artist used materials such as metal and glass as well as mechanical drawing implements.[11] In , Picabia began to create and exhibit his own drawings and prints of mysterious machines and apparatuses to reflect the coming of "the age of machines".

He continued in this style for almost a decade, exhibiting a large solo show of his machinist work in In , he abruptly discontinued his work in the style, as he had with several previous styles.[11]

In this period, the magazine devoted an entire issue to him, he met Man Ray, Gabrielle and Duchamp joined him, drugs and alcohol became a problem and his health declined.

He suffered from dropsy and tachycardia.[12]

Manifesto

Later, in , while in Barcelona and within a small circle of refugee artists that included Albert Gleizes and his wife Juliette Roche, Marie Laurencin, Olga Sacharoff, Robert Delaunay and Sonia Delaunay, he started his Dada periodical (published by Galeries Dalmau), modeled on Stieglitz's own periodical.

He continued the periodical with the help of Marcel Duchamp in the United States. In Zürich, seeking treatment for depression and suicidal impulses, he had met Tristan Tzara, whose radical ideas thrilled Picabia. Back in Paris, and now with his mistress Germaine Everling, he was in the city of "les assises dada" where André Breton, Paul Éluard, Philippe Soupault and Louis Aragon met at Certa, a Basque bar in the Passage de l'Opera.

Alarde amoroso francis picabia biography Inspired by a true story, Invincible recounts the last 48 hours in the life of Marc-Antoine Bernier, a year-old boy on a desperate quest for freedom. ‘Love Parade’ was created in by Francis Picabia in Dada style. Find more prominent pieces of figurative at – best visual art database.

Picabia, the provocateur, was back home.

Picabia continued his involvement in the Dada movement through in Zürich and Paris, before breaking away from it after developing an interest in Surrealist art. (See Cannibale, ) He denounced Dada in ,[3] and issued a personal attack against Breton in the final issue of , in The same year, he appeared briefly in the René Clair short film Entr'acte, which would become one of the most famous surrealist films of the decade.[13]

Later years

Reflecting on his break with Dada, Picabia wrote, "If you want to have clean ideas, change them like shirts."[3] His career would later be remembered in part for his wide range of artistic styles.[3][2] In , André Breton relaunched Littérature magazine with cover images by Picabia, to whom he gave carte blanche for each issue.

Picabia drew on religious imagery, erotic iconography, and the iconography of games of chance.[14]

In , Picabia returned to figurative painting, producing a series of dense, garish paintings known as his "Monster" period. These would later be an important influence on German painter Sigmar Polke.[6] From to , Picabia produced his "Transparencies" series, paintings that combined images from High Renaissance art with figures from contemporary popular culture.[6]

During the s became a close friend of and received encouragement from the modernist novelist Gertrude Stein,[15] painting a portrait of her in [16] In , he married Olga Mohler on 14 June, the same day that the Nazis seized Paris.

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    • Shortly after, he moved to the South of France, where his work took a surprising turn: he produced a series of paintings based on the nude glamour photos in French "girlie" magazines like Paris Sex-Appeal,[17][18] in a garish style which appears to subvert traditional, academic nude painting. Some of these went to an Algerian merchant who sold them, and so it passed that Picabia came to decorate brothels across North Africa under the Occupation.[citation needed]

    Before the end of World War II, he returned to Paris, where he resumed abstract painting and writing poetry.

    A large retrospective of his work was held at the Galerie René Drouin in Paris in the spring of Picabia died in Paris in and was interred in the Cimetière de Montmartre.

    Personal life

    He was married in to Gabrièle Buffet-Picabia, a French art critic and writer affiliated with Dadaism and later an organizer of the French resistance.

    They had four children. They divorced in Their tumultuous union is re-imagined by great-granddaughter Anne Berest in The Postcard, a semi-autobiographical French novel published in [19]

    Legacy

    Public collections holding works by Picabia include the Museum of Modern Art and Solomon R.

    Guggenheim Museum in New York; the Philadelphia Museum of Art; the Art Institute of Chicago; the Tate Gallery, London and the Musée National d'Art Moderne, Paris.

    In the mids two of Picabia's Dada writings, Who Knows and Yes No were published in English by Hanuman Books and in MIT Press published a large book of his poetry and other writings in English called I Am a Beautiful Monster: Poetry, Prose, and Provocation that was translated by Marc Lowenthal.

    A major retrospective of Picabia's work in the United States was held in at Kunsthaus Zürich and then from to at the Museum of Modern Art, New York.[20] The retrospective was widely discussed by international art critics such as Philippe Dagen from Le Monde.[21]

    Among the artists influenced by Picabia's work are the American artists David Salle and Julian Schnabel, the German artist Sigmar Polke, and the Italian artist Francesco Clemente.[22][23][24][25] In , French artist Jean-Jacques Lebel initiated and co-curated the exhibition Picabia, Dalmau (with reference to Picabia's solo exhibition at Galeries Dalmau in ) shown at Fundació Antoni Tàpies in Barcelona and the Musée National d'Art Moderne, Centre Pompidou.

    In , the artists Peter Fischli & David Weiss installed Suzanne Pagé's retrospective devoted to Picabia at the musée d'art moderne de la ville de Paris (MAMVP).

    In , a Picabia painting once owned by André Breton sold for US$&#;million.[26] Picabia's Volucelle II (c.&#;) sold for US$8,, at Sotheby's in , then the highest price for one of the artist's works.[27][28] A new record was set in with the sale of Pavonia at Sotheby's for US$11&#;million.[27]

    Gallery

    Main article: List of works by Francis Picabia

    • Francis Picabia in his studio c.&#;

    • Horses, , oil on canvas, x &#;cm, Musée National d'Art Moderne, Centre Georges Pompidou, Paris.

      Published in the New York Times, New York, 16 February , Page

    • Paysage à Cassis (Landscape at Cassis), –12, oil on canvas, × &#;cm, private collection

    • Tarentelle, , oil on canvas, x &#;cm, Museum of Modern Art, New York. Reproduced in Du "Cubisme" by Albert Gleizes and Jean Metzinger, published in

    • The Procession, Seville, , oil on canvas, x &#;cm, National Gallery of Art, Washington DC.

    • The Dance at the Spring, , oil on canvas, x &#;cm, Philadelphia Museum of Art.

      Exhibited at the Armory Show

    • Edtaonisl (Ecclesiastic), , oil on canvas, x &#;cm, Art Institute of Chicago

    • Catch as Catch Can, , oil on canvas, x &#;cm, Philadelphia Museum of Art

    • Star Dancer on a Transatlantic Steamer,

    • Force Comique, –14, watercolor and graphite on paper, x &#;cm, Berkshire Museum, Pittsfield, MA

    • Ici, c'est ici Stieglitz, foi et amour, cover of , No1,

    • Fille née sans mère (Girl Born Without a Mother), , work on paper, x &#;cm, Musée d'Orsay

    • Voilà Haviland (La poésie est comme lui), Portrait mécanomorphe de Paul B.

      Haviland, , Musée d'Orsay

    • Prostitution Universelle (Universal Prostitution), –17, black ink, tempera, metallic paint on cardboard, x &#;cm, Yale University Art Gallery

    • Réveil Matin (Alarm Clock), , ink on paper, x 23&#;cm, Tate, London

    • Dada Movement, Dada, Number 5, 15 May

    • Portrait of Cézanne, Portrait of Renoir, Portrait of Rembrandt, , Toy monkey and oil on cardboard, x 55&#;cm, Reproduced in Cannibale, Paris, n.

      1, April 25,

    • La Sainte Vierge (The Blessed Virgin), , ink and graphite on paper, 33 x 24&#;cm, Musée National d'Art Moderne, Paris

    • Francis Picabia, , L'oeil cacodylate, oil and collage on canvas, x &#;cm, Musée National d'Art Moderne, Paris

    • Optophone I, c.

      –22, ink, acrylic, and graphite on paper, 72 x 60&#;cm. Reproduced in Galeries Dalmau, Picabia, exhibition catalogue, Barcelona, Nov. 18 - Dec. 8,

    • Espagnole et agneau de l'apocalypse, c. –28, gouache, watercolour and brush and ink on paper, 65 × 50&#;cm, private collection

    • Hera, c.

      , oil on cardboard, × 75&#;cm, private collection

    • Transparence - Sphinx, , oil on canvas, × &#;cm, Centre Georges Pompidou

    See also

    References

    1. ^Oxford Dictionary of Modern and Contemporary Art, Oxford University, p.
    2. ^ abcdefghijkLunday, Elizabeth (15 February ).

      "Francis Picabia's Chameleonic Style". JSTOR Daily. Retrieved 7 August

    3. ^ abcdeDupêcher, Natalie (). "Francis Picabia". Museum of Modern Art. Retrieved 7 August
    4. ^"Marianne Heinz, Grove Art Online, MoMA, Oxford University Press".

      Alarde amoroso francis picabia biography wikipedia Parade Amoureuse de Francis Picabia. En este óleo de se muestra la obsesiva insistencia de Picabia por las estructuras mecanicistas en perpetuo movimiento que caracterizarían su obra posterior.

      Archived from the original on 14 May Retrieved 3 February

    5. ^Javier de Castromori (28 September ), Picabia, ¿pintor cubano?, La Voz de Galicia from 3 May quoted on , retrieved 26 January
    6. ^ abcSmith, Roberta (17 November ).

      "Francis Picabia, the Playboy Prankster of Modernism". The New York Times. Retrieved 7 August

    7. ^ abcGibson, Michael (21 December ). "Francis Picabia, awful artist and provocateur of genius". The New York Times.

      Retrieved 7 August

    8. ^Batterberry, Michael (). Twentieth Century Art. Discovering Art Series. New York: McGraw-Hill Book Company. p.&#;
    9. ^"Francis Picabia". Retrieved 5 August
    10. ^"Francis Picabia Official Website- Biography".

      Francis picabia: Parade Amoureuse de Francis Picabia. En este óleo de se muestra la obsesiva insistencia de Picabia por las estructuras mecanicistas en perpetuo movimiento que caracterizarían su obra posterior.

      Archived from the original on 6 August Retrieved 15 June online biography, retrieved 15 June

    11. ^ abcCamfield, William A. “The Machinist Style of Francis Picabia.” The Art Bulletin, vol. 48, no. 3/4, , pp. – JSTOR, Accessed 7 August
    12. ^Paris Match No
    13. ^"René Clair: Entr'acte".

      Museum of Modern Art. Retrieved 7 August

    14. ^Mark Polizzotti, Revolution of the Mind, () pages 93–94, , ,
    15. ^Dydo, Ulla; Rice, William (). The Language That Rises: . Northwestern University Press. p.&#; ISBN&#;.

    16. Francis picabia
    17. Alarde amoroso francis picabia biography images
    18. Alarde amoroso francis picabia biography wife

      19. Retrieved 7 August

    19. ^"Portrait of Gertrude Stein". National Portrait Gallery. Retrieved 7 August
    20. ^Verdier, Aurelie (). "[Sic] Picabia: Ego, Reaction, Reuse". October. (): 63– doi/OCTO_a_
    21. ^Picabia, Francis (). Francis Picabia&#;: les nus et la méthode&#;: 17 octobre janvier .

      Serge Lemoine, Musée de Grenoble. [Grenoble]: Musée de Grenoble. ISBN&#;. OCLC&#;

    22. ^Orringer, Julie (16 May ). "An Autobiographical Novel Reclaims a Jewish History in Occupied France". The New York Times. Retrieved 28 August
    23. ^English Press release to be found under 19 January at the Wayback Machine
    24. ^"Francis Picabia, la peinture à vive allure".

      Alarde amoroso francis picabia biography pdf

      Inspired by a true story, Invincible recounts the last 48 hours in the life of Marc-Antoine Bernier, a year-old boy on a desperate quest for freedom. ‘Love Parade’ was created in by Francis Picabia in Dada style. Find more prominent pieces of figurative at – best visual art database.

      Le . 9 July

    25. ^ARTnews (7 October ). "Then and Now: Picabia, Grasshopper of Modern Art". ARTnews. Retrieved 21 March
    26. ^"David Salle &#; David Salle / Francis Picabia".
    27. ^Kimmelman, Michael (28 April ). "Review/Art; Picabia's 'Transparences': Layers of Many Meanings".

      The New York Times. Retrieved 21 March

    28. ^Kimmelman, Michael (23 December ). "ART VIEW; What Is Sigmar Polke Laughing About?". The New York Times. Retrieved 21 March
    29. ^"Surrealist sale smashes records". 18 April Retrieved 21 March &#; via
    30. ^ abVilla, Angelica (17 March ).

      "Record-Breaking Picabia Painting Brings Sotheby's Surrealism Sale to $37 M". ARTnews. Retrieved 7 August

    31. ^Francis Picabia, Volucelle II, c.&#;, Ripolin on canvas, ,5 x cm, US$8,, Sotheby's, Impressionist & Modern Art Evening Sale, New York, Wednesday, 6 November

    Bibliography

    • Allan, Kenneth R.

      “Metamorphosis in : A Cryptographic Collaboration by Francis Picabia, Man Ray, and Erik Satie.” Art History 34, No. 1 (February ): –

    • Baker, George. The Artwork Caught by the Tail: Francis Picabia and Dada in Paris. Cambridge, MA: MIT Press, (ISBN&#;)
    • Borràs, Maria Lluïsa. Picabia. Trans. Kenneth Lyons.

      New York: Rizzoli,

    • Calté, Beverly and Arnauld Pierre. Francis Picabia. Tokyo: APT International,
    • Camfield, William. Francis Picabia: His Art, Life and Times. Princeton: Princeton University Press,
    • Hopkins, David. “Questioning Dada’s Potency: Picabia’s ‘La Sainte Vierge’ and the Dialogue with Duchamp.” Art History 15, No.

      3 (September ): –

    • Legge, Elizabeth. “Thirteen Ways of Looking at a Virgin: Francis Picabia’s La Sainte Vierge.” Word & Image 12, No. 2 (April–June ): –
    • Page, Suzanne, William Camfield, Annie Le Brun, Emmanuelle de l’Ecotais, et al., Francis Picabia: Singulier ideal. Paris: Musée d’Art moderne de la Ville de Paris,
    • Picabia, Francis.

      I Am a Beautiful Monster: Poetry Prose, and Provocation. Trans. Marc Lowenthal, Cambridge, MA: MIT Press, (ISBN&#;)

    • Pierre, Arnauld. Francis Picabia: La peinture sans aura. Paris: Gallimard,
    • Wilson, Sarah. "Francis Picabia: Accommodations of Desire – Transparencies –" New York: Kent Fine Art, (ISBN&#;)

    External links