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ANNE UMLAND is The Blanchette Hooker Rockefeller Curator of and A “kaleidoscopic series of experiences.” That is how , The Museum of , , where she most recently described the career of his lifelong friend (1879–1953), co-organized the exhibition Picasso Sculpture (2015–16) and organized whose mind-bendingly diverse production over the course of fifty years René Magritte: The Mystery of the Ordinary (2013–14). ranged from Impressionist painting to radical abstraction, from Dadaist provocation to pseudo-, and from photo-based to Art Informel.

CATHÉRINE HUG is Curator, Kunsthaus Zürich, where she most recently Intrepid and audacious, restless and brilliant, Picabia would achieve fame— co-organized the exhibitions Reconstructed (2016), Europe. and no small degree of infamy—for his position at the forefront of , The Future of History (2015), and in Germany and (2014). only to break publicly with the movement in 1921. Abandoning in 1925 for a life on the , where he would remain until after World War II,

FRANCIS PICABIA: OUR HEADS ARE ROUND SO OUR THOUGHTS CAN CHANGE DIRECTION the artist continued to pursue an expansive art/life practice that included also includes essays by George Baker, Carole Boulbès, Masha Chlenova, painting, writing, yachting, gambling, organizing lavish parties, and racing Michèle C. Cone, Briony Fer, Gordon Hughes, David Joselit, Jean-Jacques fast cars. Always seemingly one step ahead of his critics and his peers, Lebel, Bernard Marcadé, Arnauld Pierre, Juri Steiner, Adrian Sudhalter, this inveterate shape-shifter who perpetually questioned the purpose and and Aurélie Verdier; an illustrated chronology by Rachel Silveri; and an meaning of art would prove profoundly inspirational for many younger artists, annotated checklist by Natalie Dupêcher with Talia Kwartler. even as his iconoclastic legacy and its impact on twentieth-century have remained largely unfamiliar to a general public.

FRANCIS PICABIA: OUR HEADS ARE ROUND SO OUR THOUGHTS CAN CHANGE DIRECTION accompanies the first-ever comprehensive survey of the artist’s career in the , and the first in Europe in more than a decade. Produced in collaboration between The , New York, and the Kunsthaus Zürich, it examines the full sweep of Picabia’s oeuvre, with in-depth discussions by leading scholars of significant aspects of the artist’s multifaceted career. An extensive chronology and annotated checklist add to this landmark survey of one of the most provocative and influential artists of the past hundred years.

Front cover: L’Œil cacodylate (The Cacodylic Eye), 1921 (detail; see plate 76) Back cover: Portrait d’un couple (Portrait of a Couple), 1942–43 (detail; see plate 186)

Published by The Museum of Modern Art 11 W. 53 Street, New York, NY 10019 (www.moma.org) and

Kunsthaus Zürich Heimplatz 1 CH–8001 (www.kunsthaus.ch)

Printed in Belgium 368 pages; 368 color and 114 black-and-white illustrations

ANNE UMLAND and CATHÉRINE HUG with essays by GEORGE BAKER | CAROLE BOULBÈS | MASHA CHLENOVA MICHÈLE C. CONE | BRIONY FER | GORDON HUGHES | DAVID JOSELIT JEAN-JACQUES LEBEL | BERNARD MARCADÉ | ARNAULD PIERRE JURI STEINER | ADRIAN SUDHALTER | AURÉLIE VERDIER

THE MUSEUM OF MODERN ART, NEW YORK | KUNSTHAUS ZÜRICH CONTENTS

CHAPTER 1: BEGINNINGS, 1905 –1911 CHAPTER 7: TRANSPARENCIES, 192 7–1930

GORDON HUGHES MASHA CHLENOVA CATHÉRINE HUG

26 FRANCIS PICABIA, ONCE REMOVED 188 THE SECRET RECESSES OF 294 PICABIA AFTER PICABIA PICABIA’S TRANSPARENCIES

CHAPTER 2: ABSTRACTIONS, 1912 –1914 RACHEL SILVERI

CHAPTER 8: ECLECTICISM AND ICONOCLASM, 1934 –1938 310 PHARAMOUSSE, FUNNY GUY, PICABIA GEORGE BAKER THE LOSER: THE LIFE OF FRANCIS PICABIA 40 THE BODY AFTER BERNARD MARCADÉ

206 MORE POWERFUL, MORE SIMPLE,

MORE HUMAN PAINTING NATALIE DUPÊCHER with TALIA KWARTLER CHAPTER 3: MECHANOMORPHS AND DADA, 1915 –1922 340 CHECKLIST OF THE EXHIBITION

ADRIAN SUDHALTER CHAPTER 9: PHOTO-BASED , 1940 –1943 66 WAR, EXILE, AND THE MACHINE

MICHÈLE C. CONE 361 SELECTED BIBLIOGRAPHY JURI STEINER 224 FRANCIS PICABIA’S “WAR” 76 “I’M FEELING SOMEWHAT BETTER”

366 PHOTOGRAPH CREDITS

CHAPTER 10: POSTWAR ABSTRACTIONS CHAPTER 4: DALMAU, LITTÉRATURE, AND ILLUSTRATED LETTERS, 1946 –1951 AND RIPOLINS, 1922 –1924 368 TRUSTEES OF THE MUSEUM OF MODERN ART CAROLE BOULBÈS BRIONY FER 244 PAINTING, POETRY, AND 110 PICABIA’S WORLDLINESS IMPUDENT CORRESPONDENCE

6 LENDERS TO THE EXHIBITION CHAPTER 5: CINÉ-THEATER-, 1924 CHAPTER 11: THE POINTS AND LAST WORKS, 1949 –1952

CAROLE BOULBÈS ARNAULD PIERRE 7 GLENN D. LOWRY CHRISTOPH BECKER 13 4 RELÂCHE AND THE MUSIC HALL and 266 “THE SACRILEGE OF THE POINTS”: FOREWORD JEAN-JACQUES LEBEL FRANCIS PICABIA’S QUASI-MONOCHROMES

140 FRANCIS “FUNNY GUY” PICABIA AND THE RETURN OF DADA

AND ENTR’ACTE ANNE UMLAND and CATHÉRINE HUG

8 ACKNOWLEDGMENTS CHAPTER 12: CODA

CHAPTER 6: AND MONSTERS, 1924 –1927 DAVID JOSELIT

ANNE UMLAND AURÉLIE VERDIER 284 JOKES AND THEIR RELATION TO 12 FRANCIS PICABIA: AN INTRODUCTION 170 ART = SUN = DESTRUCTION MODERN ART: PICABIA’S PAINTING LENDERS TO THE EXHIBITION FOREWORD

Albright-Knox Art Gallery, Buffalo , Stockholm The exhibition Francis Picabia: Our Heads Are Round so their enthusiastic support but also to the great goodwill The The Morgan Library & Museum, New York Our Thoughts Can Change Direction and its accompanying of the Comité Picabia, in particular Beverley and Pierre Association des Amis du Petit Palais, Geneva Musée-bibliothèque PAB, Alès, France catalogue continue a long-standing tradition at The Calté, as well as William and Virginia Camfield. Without The Baltimore Museum of Art Musée d’Art moderne de la Ville de Paris Museum of Modern Art and the Kunsthaus Zürich: the their expert advice and sympathetic cooperation, we could Timothy Baum, New York Musée de Grenoble, France organization of major exhibitions dedicated to pivotal not have realized such an ambitious undertaking. Projects Beinecke Rare Book and Manuscript Library, Yale University, Musée de L’Annonciade, Saint-Tropez figures within the history of modern art. Among the great of this size and scope are, by necessity, expensive endeavors. 6 New Haven Museum of Art, Rhode Island School of Design, Providence artists of the past century, the audacious, irreverent, and We extend our great appreciation to all those who made 7 Lawrence B. Benenson, New York Museum Boijmans Van Beuningen, Rotterdam profoundly influential Francis Picabia (1879–1953) remains possible this exhibition’s presentation at The Museum Merrill C. Berman, New York Museum Ludwig, Cologne largely unfamiliar to the general public. This is the first of Modern Art and the Kunsthaus Zürich. FRANCIS PICABIA OUR HEADS ARE ROUND SO OUR THOUGHTS CAN CHANGE DIRECTION FRANCIS PICABIA OUR HEADS ARE ROUND SO OUR THOUGHTS CAN CHANGE DIRECTION Bibliothèque Interuniversitaire de Montpellier. Bibliothèque The Museum of Modern Art, New York comprehensive survey of his work ever to be mounted in We warmly acknowledge the curators of the exhibi- Universitaire Raimon Llull The Museum of Modern Art Library, New York the United States, and the first in Switzerland in morethan tion, Anne Umland, The Blanchette Hooker Rockefeller Bibliothèque Paul Destribats. Courtesy Galerie 1900–2000, Paris Marianne and Pierre Nahon; Galerie Beaubourg, Paris thirty years. We are delighted to provide the opportunity Curator of Painting and Sculpture at The Museum of Bibliothèques de l’Université Charles-de-Gaulle – Lille 3 , Washington, D.C. for our twenty-first-century audiences to experience and Modern Art, and Cathérine Hug, Curator at the Kunsthaus Lucien Bilinelli, Brussels and Milan National Gallery of Art Library, Washington, D.C. evaluate Picabia’s achievements at a moment when his Zürich; as well as Talia Kwartler, Curatorial Assistant, and The Bluff Collection National Gallery of Canada, Ottawa freewheeling and remarkably heterogeneous oeuvre carries Masha Chlenova, former Curatorial Assistant, Department Broere Charitable Foundation Neumann Family Collection fresh relevance for contemporary artists today. of Painting and Sculpture, The Museum of Modern Art, Carnegie Museum of Art, Pittsburgh New York Public Library Francis Picabia extends a fruitful partnership between and Esther Braun-Kalberer, Exhibition Organizer, Kunsthaus , Musée national d’art moderne – Bibliothèque Ales Ortuzar, New York The Museum of Modern Art and the Kunsthaus Zürich Zürich. The contributions of Natalie Dupêcher, Rachel Kandinsky, Paris Collection, Venice that began with the co-organization of the important Silveri, and Kirsty Dootson, Museum Research Consortium Centre Pompidou, Musée national d’art moderne – Centre de Philadelphia Museum of Art centennial retrospective in 2001, and Fellows at MoMA, were essential to the realization of the création industrielle, Paris Private collection. Courtesy BNP Paribas Art Advisory that has continued, most recently, with the New York pre- exhibition and its complex catalogue. Special thanks are due Chancellerie des Universités de Paris – Bibliothèque littéraire Private collection. Courtesy Dominique Lévy Gallery and sentation of Dadaglobe Reconstructed, a project organized in to the entire staffs at The Museum of Modern Art and the Jacques Doucet, Paris Michael Werner Gallery Zurich that had at its core key works from the exceptional Kunsthaus Zürich, virtually all of whom have contributed Dansmuseet – Museum Rolf de Maré Stockholm Private collection. Courtesy Galerie Gmurzynska Dada collections of both museums. The present, collab- directly or indirectly to this expansive undertaking. The David and Alfred Smart Museum of Art, The University Private collection. Courtesy Galerie Michael Werner, oratively conceived retrospective of Picabia’s work is of Chicago Märkisch Wilmersdorf, Cologne, and New York scheduled, as was Dadaglobe Reconstructed, to coincide with Eric Decelle, Brussels Private collection. Courtesy Galerie Sophie Scheidecker, Paris the 100th anniversary of the birth of the Dada movement David and Marcel Fleiss; Galerie 1900–2000, Paris Private collection. Courtesy Hauser & Wirth in Zurich. It celebrates Picabia as one of Dada’s defining GLENN D. LOWRY Friedrich Christian Flick Collection Private collection. Courtesy Sperone Westwater, New York artists while situating his works from these pivotal years Director Daniel Frachon Private collections within the much larger arc of his decades-long career. The Museum of Modern Art, New York Galerie Hervé Bize, Nancy, France Private collections. Courtesy Galerie 1900–2000, Paris It is especially gratifying that our partnership allows us to GAM – Galleria Civica d’Arte Moderna e Contemporanea, Torino Private collections. Courtesy Galerie Haas, Zurich present this full-scale survey of the artist’s production in CHRISTOPH BECKER James Geier Collection Alexander S. C. Rower, New York both Zurich and New York, two cities that played import- Director Getty Research Institute, Los Angeles San Francisco Museum of Modern Art ant roles in his life and art. Picabia made a number of Kunsthaus Zürich Jeff and Mei Sze Greene Collection , New York catalytic visits to New York, beginning with his much Grey Art Gallery, New York University Natalie and Léon Seroussi, Paris publicized stay at the of the in 1913, Hall Collection Solomon R. Guggenheim Museum, New York and he spent extended periods of time in Switzerland before, Hauser & Wirth Collection, Switzerland The Estates of Emily and Jerry Spiegel during, and after Dada; his 1919 encounter in Zurich with Jon and Joanne Hendricks, New York Staatsgalerie Stuttgart the Dada impresario had profound conse- The Israel Museum, Charles Szwajcer, Antwerp quences for both men. Mark Kelman, New York We extend our sincere gratitude to the many lenders Jon Kilik, New York Bruce and Robbi Toll, Rydal, Pennsylvania to the exhibition, listed on the page opposite, and to others Kravis Collection Hélène Trintignan, Montpellier, France who have contributed to its realization, listed seperately Kunsthaus Zürich Peter Uhlmann, Zurich in the curators’ acknowledgments. We must, however, University of California, Los Angeles. Hammer Museum acknowledge a special debt to our colleagues at the Centre The , Houston Inge and Philip van den Hurk, The Pompidou, Musée national d’art moderne – Centre de The Metropolitan Museum of Art, New York Yale University Art Gallery, New Haven création industrielle, Paris, in particular Bernard Blistène Michael Werner Gallery, New York, , and and Brigitte Léal, for their unstinting generosity. That we Märkisch Wilmersdorf have been able to mount this exhibition is due not only to 9 FRANCIS PICABIA OUR HEADS ARE ROUND SO OUR THOUGHTS CAN CHANGE DIRECTION

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Cynthia Schwarz, Mary Sebera, Mary Sebera, Cynthia Schwarz, Pozzi, Emily Prehoda, Lauren Ross, Lauren Ross, Emily Prehoda, Pozzi, The partnership between The Museum of Modern The Museum of The partnership between A particular focus of research for this project Indispensable to this project was the research of Indispensable to this project was the research past and present scholars, foremost among them William William foremost among them past and present scholars, who pioneered the Camfield and Maria Lluïsa Borràs, distin- also thank the We work. scholarship on Picabia’s this catalogue: guished scholars who contributed essays to Michèle Masha Chlenova, Carole Boulbès, George Baker, Jean- Joselit, David Hughes, Gordon Briony Fer, Cone, C. Reba Snyder, Véronique Sorano-Stedman, Carol Stringari, Carol Stringari, Sorano-Stedman, Véronique Reba Snyder, and Christel van Hees. Tyne, Lindsey Townsend, Joyce Art and the Kunsthaus Zürich has its origins in conversa- former Curator Bezzola, Tobia tions begun in 2010 with and of Exhibitions at the Kunsthaus Zürich and are We now Director of the Folkwang Museum in Essen. and consummate creativity, for the dedication, grateful Adrian Sudhalter, and Aurélie Verdier, along with Rachel Verdier, Aurélie and Adrian Sudhalter, and the who authored the extensive chronology, Silveri, to be artists and/or curators who graciously consented Lebel, Jean-Jacques including Peter Fischli, interviewed, and Rita , Albert Oehlen, Jean-Hubert Martin, of the Museum Research ConsortiumThe support Vitorelli. Marlene Hess headed by Leah Dickerman, at MoMA, and sup- and Sculpture, Department of Painting Curator, was essential Mellon Foundation, W. Andrew The ported by catalogue. to the realization of both the exhibition and materials and techniques; this endeavor on Picabia’s was was greatly facilitated by the expertise and dedication of grate- We an international community of conservators. Anikó Bezur, fully acknowledge the generous support of Hermann Degel, Jaap Boon, Gwendolyn Boevé-Jones, Anne Furrer, Milena Maria Fredericks, Brad Epley, Allison Langley, Jay Krueger, Annette King, Gunnison, Rachel Gillian McMillan, Ian McClure, Petra Mandt, Luciano Suzanne Penn, Ormsby, Bronwyn Mustalish, Federica Pensabene, Jacques Lebel, Bernard Marcadé, Arnauld Pierre, Juri Steiner, Arnauld Pierre, Bernard Marcadé, Jacques Lebel, Michael Werner, Isabelle Westeel, Angela Westwater, Isabelle Westeel, Michael Werner, Iwan Hans-Peter Wipplinger, Sarah Wilson, Lise Wilks, For their assistance and Nina Zimmer. Orin Zahra, Wirth, we extend par in the catalogue, in assembling the images Calté and Suzanne Nagy at the ticular thanks to Beverley Jennifer Allansson, with Margareta along Comité Picabia, Joelle Janet Hicks, Béatrice Hatala, Kim Bush, Belt, Tim and Mokslaveskas, Virginia Tina Lidogoster, Jensen, Candice Powel, Tom Reto Pedrini, Diane Nighswander, and Tsakuginow, Giema Michael Slade, Runderkamp, Stephan Wyckoff. Christian Scheidemann, Christian Scheidemann,

Laurence Bardury, Melissa Barton, , Melissa Barton, Laurence Bardury, Stephanie Marie-Laure Bernadac, Klara Berggren, Béraudière, Daniel Baumann, Felix Baumann, Tobias Bäumer, Agnès Bäumer, Tobias Felix Baumann, Daniel Baumann, Pierre Laura Bechter, Amélie Beaumont, de la Beaumelle, la Jacques de Alessandra Bellavita, and Franca Belfond, Borgeaud, Véronique Achim Biron, Borchardt-Hume, Thomas Brigitte Vanessa Boyd-Bowman, Bourguelot, Christian Briend, Emily Braun, Maria Brassel, Bragante, Angelo, Silvia, Bénédicte Burrus, Brown, Tufts Elizabeth Gabriel Jordi Falgàs Casanovas, and Francesca Calmarini, Jean-Marc Château, Yannick François Cavaillon, Catone, Paul Cougnard, Antoine Coron, Sara Cochran, Chatelain, Susan Braeuer Herman Daled, Marc Dachy, Bice Curiger, Matt Dillon, Marie Demiautte, Philippe David, Dam, Ursula Eccher, Danilo Carroll Dunham, Marc Dumont, Angelika Felder, Estelle Favre-Taylaz, Eric Fabre, Esposito, Gottesman, Noam Séverine Gossart, Matthew Gale, Sophie Haaser, Jana Gromova, Granat, Christine M. Margareta Helleberg, Ursula Hauser, Haldemann, Anita Delphine Sara Hindmarch, Georgina Hepburne-Scott, Jerch, Michael Jacquot, Yannick Joël Huthwohl, Huisinga, Adina Kamien-Kazhdan, Cheryl Junod, Frauke Josenhans, Marjorie Klein, Jennifer Kennedy, the Karpidas family, Karola Kraus, Pamela Kort, Erika Költzsch, James Koch, Hopi Angela Lampe, Odile de Labouchère, Jutta Küpper, Hélène Leroy, Anne Lemonnier, Laurent Le Bon, Lebel, Irene Lotspeich-Phillips, David Lewis, Alison Leslie, Nina Olga Makhroff, Luise Mahler, Etienne Lullin, Portland Pierre Martin-Vivier, Cécile Martini, Malherbe, Marion Meyer, Robert Menasse, John McGill, McCormick, Müller, Tobias Mon Muellerschoen, Camille Morando, Ruth Neitemeier, David Nash, Naumann, Francis M. and Melissa Neumann, Belinda, Hubert, Hans Neuendorf, Suzanne Pagé, Gary Owen, Didier Ottinger, Scott Niichel, Maya Patrick Peternader, Marc Payot, Pilar Parcerisas, Scott , Raluca Picasso, Widmaier Diana Pfeifer, Debra Purden, Elsa Puharre, Anna Povejsilova, Portnoy, Alejandra Kadee Robbins, Mathias Rastorfer, Omar Ramos, Thomas Dagna Rucewicz, Adrianne Rubin, Rossetti, Alain and Katia Salomon, Céline Ruivo, Ruettimann, Sophie Scheidecker, Nicolaus Schafhausen, Pamela Sanders, Alex Schneider, Katharina Schmidt, Frank Schmidt, , Rachel Schumann, Didier Schulmann, Allison Dirk Snauwaert, Rodica Sibleyras, Shipe, Timothy Deborah , Gian Enzo Sperone, Spangler, Corinna Thierolf, Glenna Taylor, Alain Tarica, Straussman, Liza Turkel, Barbara Traber, Alana Topham, Ken Tisa, Pauline von Arx, Leslie Waddington, Gordon VeneKlasen, Weinberg, Eric Weil, Colette and Roger Warren, Jacqueline

.; C . D and Harry III .; Marc Mayer, National Gallery National Gallery .; Marc Mayer, Rower

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D . S During the course of the exhibition’s development, development, During the course of the exhibition’s , Alès, France; Fabrice Hergott and Choghakate Fabrice Hergott and Choghakate France; Alès, , Yuri Long and Lamia Doumato, National Gallery of Art National Gallery of and Lamia Doumato, Long Yuri Washington, Library, Kazarian, Musée d’Art moderne de la Ville de Paris; Ville moderne de la Musée d’Art Kazarian, Musée de Grenoble;Varloteaux, and Isabelle Tosatto Guy Jean-PaulSaint-Tropez; Monery, Musée de L’Annonciade, Claude Ghez De Castelnuovo, Musée du Petit Palais, Musée du Petit Palais, Claude Ghez De Castelnuovo, Art, Museum of Howard, Smith and Jan W. Geneva; John Providence; Sjarel Ex Rhode Island School of Design, Beuningen, Van Museum Boijmans and Sandra Kisters, Dziewior and Stephan Diederich, Yilmaz Rotterdam; Powell A. Cologne; Earl Museum Ludwig, Müller-Westermann, Moderna Museet, Stockholm; Colin Moderna Museet, Müller-Westermann, The Morgan Library & Barulich, Bailey and Frances B. Musée-bibliothèque Carole Hyza, York; New Museum, Baum, Lawrence B. Benenson, Merrill C. Berman, Merrill C. Benenson, Lawrence B. Baum, the Estates Natalie and Léon Seroussi, Julian Schnabel, Bruce and Charles Szwajcer, of Emily and Jerry Spiegel, Inge and Peter Uhlmann, Trintignan, Hélène Toll, Robbi lenders. and several anonymous Philip van den Hurk, many individuals kindly contributed key assistance related presentation: and the exhibition’s scholarly research, to loans, PAB Broere Charitable The Bluff Collection, Lucien Bilinelli, David and Paul Destribats, Eric Decelle, Foundation, Daniel Frachon, Friedrich Christian Flick, Marcel Fleiss, Jeff and Mei Sze Greene, James Geier, Galerie Hervé Bize, Jon and Collection, Wirth Hauser & Hall Collection, Marie-Josée Jon Kilik, Mark Kelman, Joanne Hendricks, Marianne Gallery, Werner Michael and Henry Kravis, Ales Neumann Family Collection, and Pierre Nahon, Alexander Ortuzar, Elza Adamowicz, Jean-Jacques Aillagon, Jeffrey Alford, Elza Adamowicz, Jean-Jacques Aillagon, Jeffrey Alford, Gérard Arditty, Hervé and Patricia Anderson, Susan K. Catherine Scrivo Baker, Roberta Cerini Baj, Audinet, Miquel Barceló, Stefan Banz, Debra Bricker Balken, Cooper, National Gallery of Art, Washington, Washington, Art, National Gallery of Cooper, Yale University Art Gallery. We also extend our heartfelt also extend our heartfelt We Art Gallery. University Yale foundations, collections, gratitude to the private individuals, Timothy and galleries who have graciously lent works: of Canada, Ottawa; Anthony W. Marx, New York Public York New Marx, W. Anthony Ottawa; of Canada, Peggy Guggenheim Collection, Library; Philip Rylands, and Joseph Rishel, Affron, Matthew Rub, Timothy Venice; Gary Garrels, Art; Neil Benezra, Philadelphia Museum of Art; San Francisco Museum of Modern and Janet Bishop, and Susan Davidson, Nancy Spector, Armstrong, Richard Christiane York; New Guggenheim Museum, Solomon R. Staatsgalerie Stuttgart; Nicholas Lange and Ina Conzen, Pamela Franks, and Jock Reynolds and Tate; Serota,

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Centre , , Los Angeles; Schroeder, Nancy Kuhl, Schroeder,

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. – Galleria Civica d’Arte – Galleria Civica d’Arte E GAM and Michèle M. Wong, Grey Art Gallery, Art Gallery, Grey Wong, and Michèle M. Artworks lent by institutions and private collectors Artworks lent by institutions and private The thoughtful and enthusiastic support of the The thoughtful and Baltimore Museum of Art; Baltimore Museum of Lynn Gumpert Lynn Moderna e Contemporanea, Torino; Thomas W. Gaehtgens Thomas W. Moderna e Torino; Contemporanea, Institute Getty Research and Marcia Reed, and Kevin Repp, Beinecke Rare Book and Manuscript Beinecke Rare Book and Manuscript and Kevin Repp, University; Isabelle Diu and Marie-Dominique Yale Library, Bibliothèque littéraire Jacques Doucet, Nobécourt Mutarelli, Pittsburgh; Art, Carnegie Museum of Zelevansky, Paris; Lynn and Jonas Storsve, Brigitte Léal, Bernard Blistène, Dansmuseet – Paris; Erik Näslund, création industrielle, Museum Rolf de Maré Stockholm; Bill Michel and Alfred Smart Museum The David and Born, A. Richard University of Chicago; Carolyn Christov-Bakargiev Art, of Bertone, and Virginia of Chicago; Jay Fisher, Christine Dietze, and Katy Rothkopf, Dietze, Christine of Chicago; Jay Fisher, ACKNOWLEDGMENTS across Europe and North America join works from the col- across Europe and North and the Kunsthaus Art The Museum of Modern lections of survey Zürich in our presentation of this comprehensive especially thank: Janne Sirén and We career. of Picabia’s Buffalo, Art Gallery, Albright-Knox Cathleen Chaffee, D’Alessandro, Stephanie James Rondeau, York; New Art Institute and Mark Pascale, Folds McCullagh, Suzanne sible. Beverley Calté, in particular, has been a tireless ally. has been a tireless ally. in particular, Beverley Calté, sible. patiently Camfield opened their archives, William She and and helped locate key answered innumerable questions, for the faith too, are grateful, We images and essential loans. Armelle Bailly- including heirs, placed in us by Picabia’s Bailly-Cowell and her daughters Sophie-Tifaine Cowell, Anne and Claire Berest. Gillian-Joy Bailly-Cowell; and members of the Comité Picabia—Beverleymembers of the Comité Pierre Calté and as well as advisors Camfield, Virginia and William and Arnauld Pierre—hasCandace Clements and been indispen To organize an exhibition that might do justice to the organize an exhibition that To not be possible art would Picabia’s extraordinary range of assistance and collaboration of without the generous many most profound to whom we offer our individuals, gratitude must go to the many Our deepest appreciation. without listed on page 6, and private, both public lenders, could not have been realized. whom this exhibition New York University; Ann Philbin and Connie Butler, Ann Philbin and Connie Butler, University; York New Hammer Snyder and Museum,Angeles; James S. Los Jerusalem; Bernhard The Israel Museum, Ronit Sorek, Mendes Bürgi, Kunstmuseum Basel; Josef Helfenstein and Thomas Houston; The Menil Collection, Thomas Rhoads, The Metropolitan Wagstaff, Campbell and Sheena B. Daniel Birnbaum and Iris York; New Art, Museum of Pompidou, Musée national d’art moderne – Centre de Centre de – Musée national d’art moderne Pompidou,

8 FRANCIS PICABIA OUR HEADS ARE ROUND SO OUR THOUGHTS CAN CHANGE DIRECTION 11 FRANCIS PICABIA OUR HEADS ARE ROUND SO OUR THOUGHTS CAN CHANGE DIRECTION

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ANNE UMLAND Curator Rockefeller Blanchette Hooker The of Painting and Sculpture The Museum of Modern Art, New York HUG CATHÉRINE Curator Kunsthaus Zürich Administrative Assistant, has helped all of us, with wonder has helped all of us, Assistant, Administrative Very special and aplomb. professionalism, ful efficiency, Museum Research our 2015 Silveri, thanks are due to Rachel Consortium Fellow, whose intellectual rigor and critical Consortium Fellow, to the quality of the exhibi eye contributed immeasurably 2014 and to Kirsty Dootson, tion and this publication; for her essential Fellow, Museum Research Consortium Masha and checklist development. help with early research Assistants former Curatorial Chlenova and Blair Hartzell, each played in the Department of Painting and Sculpture, planning and crucial roles during preliminary phases of It has been a pleasure and a privilege conceptualization. of people to work closely with such a remarkable group dedication Their during the course of the past five years. and their intelligence has truly exceeded our expectations, of this project. and creativity has enriched every aspect .

MA

o M of Christopher Hudson, of Christopher Hudson, MA o M Studio in Zurich to document the exhi- Studio in Zurich to FMB The preparation of this catalogue has been an ambi- The preparation of this catalogue has been We have saved until the end our words of apprecia- We Talia Kwartler, Curatorial Assistant, has handled a vast has handled a vast Assistant, Curatorial Kwartler, Talia range of administrative and curatorial details with great and remarkable dedication, creative problem solving, skill, Museum Research Natalie Dupêcher, invariable good cheer. has brought her exceptional writing, Consortium Fellow, standards to and language skills and exacting research, Dolnier, Francesca bear on every aspect of this project. bition; Carin Cornioley and Daniela Hardmeier, who pro- who and Daniela Hardmeier, bition; Carin Cornioley guide; and Sibyl Kraft and her duced the incisive audio who conceived the inventive educational program. team, and in art handling. Our thanks as well to Monique Spaeti and in art handling. for facilitating the generous in the Sponsoring Department In the Department of Press and support of our sponsors. thank Björn Quellenberg and Kristin we Communication, who and we are grateful as well to Cécile Brunner, Steiner, worked with team were instrumental in constructing the exhibition team were instrumental one that could not have been accomplished tious undertaking, without the advocacy at Publisher, and the dedication of every member of the of every member of the and the dedication Publisher, David Frankel, Kim, Chul R. Department of Publications. characteristic and Marc Sapir have guided the project with are most grateful to our We thoughtfulness and tenacity. and good humor patience, whose rigor, Jason Best, editor, as was that of his fellow editor, are deeply appreciated, Lynn also thank our proofreader, We Alexander Provan. and translators Sharon Bowman and Russell Scrabis, Stockman. Matthew Pimm deftly oversaw production. and Hannah Kim Cerise Fontaine, Allison, Genevieve elegant design owe the We provided invaluable support. The German assisted by Meg Becker. Associates, of McCall the wonderful and French editions were ably overseen by gratitude team at Mercatorfonds; we extend our warm and Barbara Costermans, Publisher, to Bernard Steyaert, Ann Mestdag for their as well as Coordinator, Editorial to the dedicated professionalism and early commitment would also like to express our appreciation We project. and Lutz Stirl Barbara Delius, to editors Carole Daprey, included Skilled translators for their invaluable support. David Drevs, Dispa, Marie-Françoise Astelbauer, Wolfgang Erwin Fiona Elliott, Dörte Elias, Agius d’Yvoire, Élisabeth and Bernd Anne-Laure Vignaux, Nathalie Trouveroy, Tivig, Reissmann was Manuela At the Kunsthaus Zürich, Weiss. Lena Huber further essential in editing and proofreading. designed the cover for the European editions. tion for the core members of the exhibition team at of the English version of this catalogue to Mark Nelson of the English version of this catalogue to

Ingrid Ingrid Hsien-yin At the Kunsthaus Zürich, we are deeply grateful for At the Kunsthaus Zürich, and Events; Daniel Platt, Director of Security; and Tunji Tunji Director of Security; and Platt, Daniel Events; and Adeniji, Director of Facilities and Safety. Director, the leadership and support of Christoph Becker, Esther Braun- as well as the patience and commitment of Department of Exhibition Exhibition Organizer, Kalberer, whose deft oversight was Administration, Planning and essential to the realization of the exhibition and this cata- Head of Exhibition Franziska Lentzsch, Likewise, logue. handled the many aspects Administration, Planning and cordially We of this multifaceted project with grace and skill. for her critical Exhibition Registrar, thank Gerda Kram, assistance in matters related to shipping and insurance. Our sincere appreciation extends as well to Hanspeter Department of Conservation; Chief Conservator, Marty, and Karin Head of Collection, and Philippe Büttner, Department of Collection Collection Registrar, Marti, In the Library Management and Exhibition Registration. Thomas Rosemann and his we thank Archive, and Museum for research support and as well as Raimund Meyer, team, Zickler Ulrich for identifying new acquisition possibilities. worked closely with us to create a strong and visionary an elegant and Karin Holzfeind realized exhibition design, Sulzer and his Robert for the exhibition. Jay Levenson, Director of the International Program; Director of the International Program; Jay Levenson, and Shannon Darrough in the Department of Digital Media; and Shannon Darrough in the Department Department of Special Programming Director, Maggie Lyko, We thank Wendy Woon, Deputy Director for Education, Deputy Director for Education, Woon, Wendy thank We Sarah Kennedy, Pablo Helguera, and Sara Bodinson, Nostrand Van and Jess Margulies, Elizabeth Jenna Madison, in the General Patty Lipshutz, Department of Education; Alexis Sandler in the Adelson and and Nancy Counsel, Counsel; Department of the General Chou, Claire Corey, Jocelyn Meinhardt, Wendy Olson, Olson, Wendy Jocelyn Meinhardt, Claire Corey, Chou, and Rebecca Stokes in Scott, Gretchen Damien Saatdijan, Design andthe Department of Graphic Advertising; Kim and Margaret Chief Communications Officer, Mitchell, Department of in the Walsh Doyle and Sara Beth and Claire Director, Communications; Lauren Stakias, Jessica Smith, Sylvia Renner, Bobby Kean, Huddleston, in the Department of Exhibition Vallifuoco Anna Luisa and and Director, and Program Funding; Erik Landsberg, in the Wronn and John Roberto Rivera, Robert Kastler, Aaron Louis, Resources; Visual Department of Imaging and Charlie Mike Gibbons, Aaron Harrow, and Director, and Lucas Gonzalez in the Department Kalinowski, and Leslie Davis, Manager, Ian Eckert, Visual; Audio of in the Department and Kathryn Ryan Allison LaPlatney, Fiona Romeo Technologies; of Collection and Exhibition

, and we extend , MoMA In the Department of Exhibition Planning and and In the Department of Exhibition Planning In the Department of Painting and Sculpture, a number of colleagues deserve special mention: Charlotte Laura Jennifer Harris, Lily Goldberg, Jason Dubs, Barat, Cara Manes, Danielle King, Marcie Kaufman, Hoptman, for the help of are also grateful We and Cora Rosevear. and Thorold, Alexandra Anna Meixler, interns Kylie King, we acknowledge the contribu- In addition, Coline Zellal. and Reder, Hillary Emily Cushman, tions of Kathy Curry, Magnus Schaefer in the Department of Drawings and Anne Morra and and Chief Curator, Prints; Rajendra Roy, Ashley Swinnerton in the Department of Film; and Stuart Ana Janevski in the Department and Chief Curator, Comer, In the departments of Art. of Media and Performance we are grateful to Milan Hughston, Archives, Library and Archives; of Chief Chief of Library; Michelle Elligott, Philip Michelle Harvey, Grischkowsky, Thomas D. and of Exhibition Design and Production, worked closely with of Exhibition Design and Production, us in planning the installation at Jerry I. Speyer and Leon D. Black, and President Marie- Black, Speyer and Leon D. Jerry I. Josée Kravis. professionalism of our colleagues at each institution. professionalism of our Lowry, thanks go to Glenn D. our foremost At MoMA, Senior Deputy Bronkar Bannayan, Director; and Ramona Chief Curators Exhibitions and Collections. Director, Cherix have been enthusiastic and Christophe Temkin Ann also wish We of the project. advocates from the inception appreciation to Kathy Halbreich, to extend our warm Senior Deputy Director, Reed, Associate Director; Peter Senior Deputy Director, Bishop, Todd Affairs; Curatorial Officer. Chief Operating Affairs; and James Gara, External the extraordinary support of we are grateful for As ever, by Co-Chairmen led Trustees, Board of the Museum’s Parente, David Senior, Elisabeth Thomas, and Jenny Tobias. Tobias. and Jenny Thomas, Elisabeth David Senior, Parente, Administration, we wish to thank our exhibition coordinator, we wish to thank our exhibition coordinator, Administration, and Sarah Director, along with Erik Patton, Rachel Kim, as well as former exhibition Verbitski, Stewart and Jaclyn in the Department Betty Fisher, coordinator Randolph Black. our appreciation as well to Peter Perez and Harry Harris. Harry Harris. our appreciation as well to Peter Perez and and In the Department of Collection Management we are grateful to our exhibition Exhibition Registration, Krueger, Tom along with Rob Jung, Sacha Eaton, registrar, excellent team and our Wood, and Sarah Wolfe, Jennifer Paintings Conservator, Michael Duffy, of preparators. of the exhibition, was a crucial partner in the preparation as was Erika Mosier, Paper Conservator. In the Department Conservator. Paper as was Erika Mosier, we also extend our deep thanks to Jim of Conservation, Anny Aviram, Karl and Chief Conservator, Coddington, and Chris McGlinchey. Ellen Davis, Buchberg,

FRANCIS PICABIA OUR HEADS ARE ROUND SO OUR THOUGHTS CAN CHANGE DIRECTION 10 13 ANNE UMLAND FRANCIS PICABIA: AN INTRODUCTION -

This isn’t to say that Picasso didn’t make to say that Picasso didn’t This isn’t 8 5 7 Picasso was a believer in his own virtuosity and his godlike ability to reimagine the world. Picabia, Picabia, the world. Picasso was a believer in his own virtuosity and his godlike ability to reimagine 6 Picasso was, in fact, two years younger than Picabia, yet in many ways he remains the more old-fashioned yet in many ways he remains the years younger than Picabia, two in fact, Picasso was, In early 1918, as World War I continued to ravage Europe, Picabia moved to neutral Switzerland. It was there, It was there, Picabia moved to neutral Switzerland. to ravage Europe, I continued War World as In early 1918, simply put, was not. simply put, artist of the two. Unlike Picabia, Picasso was unwilling and/or uninterested in crossing the divide that separates Picasso was unwilling and/or uninterested in crossing Unlike Picabia, artist of the two. mechanical, readymade, as well as any He famously rejected abstraction, objective from nonobjective painting. particularly those related to photography. or rote means of making art, Francis Picabia was born on January 22, 1879, of a Cuban-born father descended from Spanish nobility and of a Cuban-born father descended from Spanish nobility 1879, 22, Francis Picabia was born on January Picabia was not pres Voltaire. Cabaret had been launched in Zurich’s that the Dada movement two years earlier, a wealthy French bourgeois mother. It may or may not be significant that when he died, some seventy-four years some seventy-four significant that when he died, It may or may not be a wealthy French bourgeois mother. far and wide and moved although he had traveled it was in the same house where he was born, in 1953, later, Picabia of women, Notorious to this day for his love of fast cars and a long succession many in between. had no objection to—and, encouraged—those in fact, on his quasi-exotic Spanish heritage, who placed emphasis among early twentieth-century It is also worth mentioning that, despite his French citizenship and passport. and literally and metaphorically, This facilitated his mobility, Picabia was singularly wealthy. avant-garde artists, no uncertain terms. in his freedom to function as a gadfly, Tzara, Tristan he met up with the young Dada impresario arrival, but the year after his 1918 ent on that occasion, that has remained the most securely attached to his the epithet Dadaist is the one and from that moment on, and his many May 1921 This notwithstanding his very publicly proclaimed break with the movement in name. as a celebrated early abstract Impressionist, artistic lives before and after Dada: as a successful after-the-fact pioneering creator of a as the André Breton, as an artist admired and collected by the Surrealist leader painter, II War and as a post–World a photo-based realist, as Transparencies, type of pictorial layering known as oeuvre is stag- iconographic range of Picabia’s the material and As this list suggests, Art Informel. participant in prolific output as a writer and the more performative dimensions and that is before taking into account his gering, Unlike the prodigious stylistic pluralism of his almost dissonance. his career’s is too, Staggering, of his work. style-switching involves extremes that exude—and Picabia’s exact contemporary Picasso, provoke—skepticism the identity no matter how different one of his paintings might look from another, Picasso, With and doubt. are never as Elizabeth Cowling has put it, “pride in his own irrepressible inventiveness,” of the author and his in question. in the country thus far to chart the full career. This lends urgency to the present endeavor, in a way that relates in a way that lends urgency to the present endeavor, This far to chart the full career. in the country thus would like to work that we of Picabia’s The reading time but to our geographical place. not only to our own roles in the both of which played important two cities, audiences in these activate for our twenty-first-century as the at this particular historical moment, believe, We . matters as a whole career is that Picabia’s history, artist’s and modernism histories of twentieth-century art have been so central to our received stark oppositions that partic- relevance, lifetime achievement has a heightened sum of Picabia’s that the discordant continue to unravel, more open- in a way that is the history of modern art, to make us think differently about ularly in its capacity progressive and regressive, between good and bad, one that challenges distinctions nonbinary, messier, ended, precedent offers contem- a full survey of Picabia’s On a parallel track, high art and kitsch. sincerity and , in its stylistic and multivalent wild card” “resonant, porary as a artists what critic Dave Hickey has described to those of our long legacy as an artists’ artist in terms congruent continuing Picabia’s strategic multiplicity, hierarchy-exploding digital age.

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Francis Picabia: Francis , ed. Yve-Alain Yve-Alain , ed. 448–461. Peter Fischli, interview with Peter Fischli, “Francis Picabia: David Hickey, Picasso: Style Elizabeth Cowling, A 1927 review of a solo exhibition For an illuminating discussion of Francis Picabia, “Francis Merci!,” Merci!,” “Francis Francis Picabia, This despite the excellent mono- “Francis Picabia,” Marcel Duchamp, 4. 5. 6. 7. 8. 1. 2. Candace Beverley Calté, Camfield, eds., Pierre, Arnauld and Clements, 1, vol. Picabia: Catalogue Raisonné, Francis (Brussels: Mercatorfonds, 1898–1914 385–412; and Suzanne Pagé and 2014), Gérard Audinet, eds., (Paris: Musée cat. exh. Singulier idéal, de Paris, Ville d’Art moderne de la 2002), 3. Cathérine Hug, in this volume. Cathérine Hug, in Francis His Legendary Illegitimacy,” (New cat. exh. , Picabia: Late Paintings 2000), n.p. Werner, Michael York: York: and Meaning (London and New 15. 2002), Phaidon Press, Van works at the Galerie of Picabia’s describing Leer makes a similar point, as “an “inconstancy” unerring Picasso’s in com- development of his thought,” “inconstancy whose parison to Picabia’s, Hence comes from his uncertainty. “Les See his perpetual fluctuations.” d’Art 2, Cahiers Expositions à Paris,” 4; trans- 7–8nos. (November 1927): Picabia, 292.lated in Borràs, “horrified” reaction to “the Picasso’s mechanomor idea that abstraction, and photography would soon phism, Bois, Yve-Alain see supplant Cubism,” in Picasso Trickster,” “Picasso the 1917–1937 Harlequin: 2008), (Milan: , cat. exh. Bois, “Picasso/ Krauss, and Rosalind E. 28; (New in The Picasso Papers Pastiche,” 1998), and Giroux, Straus, Farrar, York: especially 112–154. , nouvelle série, no. 8 8 no. nouvelle série, , Littérature 16–17; reprinted in (January 1923): Carole ed. Écrits critiques, Picabia, Boulbès (Paris: Mémoire du Livre, 380. 2005), graphs published A. by William Picabia: 1979 (Francis Camfield in His Art, Life, [Princeton: and Times Princeton University Press]) and , (Picabia Maria Lluïsa Borràs in 1985 York: [New Kenneth Lyons trans. and an extensive body of Rizzoli]), For literature dedicated to the artist. comprehensive bibliographies and exhibition A. histories, see William Anonyme: in Collection of the Société (New Art 1920 Museum of Modern Art University Gallery, Haven: Yale Associates in Fine published for the 4. 1950), ,

3 The last 4 2 So wrote the artist, poet, and provocateur Francis Picabia, almost a century ago. He was almost a century ago. and provocateur Francis Picabia, poet, So wrote the artist, 1 Among artists, however, Picabia’s practice and persona have been deeply influential, and since the late 1960s, and since the late practice and persona have been deeply influential, Picabia’s however, Among artists, As noted by the artist Peter Fischli, co-organizer of the last major Picabia retrospective, held in Paris at the co-organizer of the last major Picabia retrospective, As noted by the artist Peter Fischli, forty-three at the time, with some twenty years of his career behind him and, although he could hardly have known of his career behind him and, with some twenty years forty-three at the time, with self-reinvention to a will to self-erasure, His words connect an obsession some thirty still to go. it then, as a of the many reasons why, hinting at a few that colored his worldview, inflected with the profound nihilism incessant shape-shifting in its similarly, The body of work Picabia left behind performs he remains slippery. subject, representation to abstraction, to publishing, from painting and wildly, It ranges widely and self-negating strategies. and the organization of elaborate fetes and film, theater, encompassing as well writing, seduction to repulsion, lifelong success in inventing new selves, oeuvre testifies to the artist’s Picabia’s Considered as a whole, galas. So well did he succeed that history has tended to follow suit. only to consign them repeatedly to oblivion. “father figures,” well-known of modern art’s his name is far less familiar to the general public than those Today and peers. contemporaries who were Picabia’s and Marcel Duchamp, ANNE UMLAND art historians, museum curators, collectors, gallerists, critics, and other art-world insiders have increasingly taken critics, gallerists, collectors, museum curators, art historians, hybrid character This is in no small part due to the fact that his oeuvre’s note of his remarkable body of work. and art, , just about anything: , “proto” makes it possible to describe him as of the important postwar artistic tendencies for which Picabia provides so-called bad painting are but a few longtime friend and Dada co-conspirator during the who was Picabia’s Duchamp, significant precedents. “hardly that were “kaleidoscopic series of art experiences” career as a once described Picabia’s and early , personality.” “marked by a strong but which were related one to another in their external appearances” AN INTRODUCTION FRANCIS FRANCIS PICABIA: to forget everything.” “What I like is to invent, to imagine, to make of myself at every moment a new man, and then, to forget him, and then, moment a new man, to make of myself at every to imagine, “What I like is to invent, Within this introduction as well as in the object-focused essays that follow in this catalogue, complemented by complemented as well as in the object-focused essays that follow in this catalogue, this introduction Within we set out to provide an overview of production, a chronology that details the expansive nature of Picabia’s A review as it is stylistically manifold. which is as consistently inconsistent artistic legacy, “kaleidoscopic” this of past work and selected interviews with artists and organizers of important posthumous exhibitions of Picabia’s In this reevaluate the oeuvre in toto. Picabia shows situate the present project within a continuum of efforts to made at particular moments, we have done so by asking our authors to focus on particular groups of works case, biographical, larger art-historical, with the intent of allowing the specifics of the works themselves and the sweep of Picabia’s and/or political issues that frame and shape them to define the obstreperous institutional, wide-ranging output. “[E]very art has its own mission in the time when it is received, de Paris in 2002: Ville Musée d’Art moderne de la suited to a different time.” and every exhibition that is made should enable a new reading of the work, Picabia retrospective to be held in Zurich, where the current show will originate, was in 1984, already some thirty- was in 1984, where the current show will originate, Picabia retrospective to be held in Zurich, plus years ago; in the United States, this will be the first major Picabia retrospective since 1970, and the only one 1970, this will be the first major Picabia retrospective since plus years ago; in the United States,

FRANCIS PICABIA OUR HEADS ARE ROUND SO OUR THOUGHTS CAN CHANGE DIRECTION 12 15 ANNE UMLAND FRANCIS PICABIA: AN INTRODUCTION -

13 -

—these

). L.H.O.O.Q. 85 cm). Read aloud, one by one, one by one, Read aloud, 4).

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33 Art historians writing in the 1960s, Art historians writing in the 1960s, The Double World × 12 (pl.

) definednewaestheticnorms? 54)that The Child Carburetor Francis Picabia. Double Le Monde ( 4.

Centre Pompidou, Musée national d’art moderne – Centre de création industrielle, Paris. Gift, 2003 1919. Enamel paint1919. and oil on board, 52 Fig. Judging from the exhibition’s catalogue, which took the form of a mono catalogue, Judging from the exhibition’s 11 1).

” 8 ∕ s horny.” Pronounced as a single word together in English, they sound Pronounced as a single word together in English, s horny.” 7

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× 4 4 ∕ To state the obvious, however, what constitutes a “good” Picabia versus a “bad” Picabia versus a “good” what constitutes a however, state the obvious, To 3

14 1919. , 7 L.H.O.O.Q. which are the type of picture more often associated with his avant-garde Dada years, were exhib years, which are the type of picture more often associated with his avant-garde Dada 2),

The Galerie de la Cible exhibition is noteworthy for, among other things, marking what is believed to be among other things, noteworthy for, The Galerie de la Cible exhibition is The reactions of some contemporary critics to Picabia’s Galerie de la Cible exhibition seem to support this Galerie de la Cible exhibition seem to support The reactions of some contemporary critics to Picabia’s Marcel Duchamp. 12.4 cm). Private12.4 collection× 3.

such as and Marc Le Bot, suggested that Picabia’s motivations for exhibiting the Espagnoles motivations for exhibiting the Espagnoles suggested that Picabia’s such as Michel Sanouillet and Marc Le Bot, financial—howand other nominally regressive or retrograde works must have been purely else to explain the for 92, stereotypical images of Spanish women (pl. almost cloyingly sweet, coexistence of these often exquisite, ( carburateur example) with works such as L’Enfant deemed responsible for the war. Picabia himself made provocative statements to the press, published journals, published journals, to the press, Picabia himself made provocative statements deemed responsible for the war. and orchestrated solo exhibitions of his work in salon interventions, staged demonstrations and wrote manifestos, relatively obscure Galerie de la Cible (also known as Galerie Povolozky) including one at the various Paris galleries, bringing the inaugural year of Paris Dada to a close. in December 1920, (19.7 assertion: several reviewers proclaimed their relief at the return of the “good” Picabia, as opposed to the painter Picabia, “good” assertion: several reviewers proclaimed their relief at the return of the of mechanical provocations. ited in the show, where they were outnumbered not only by Espagnoles but by the artist’s earlier Impressionist they were outnumbered not only by Espagnoles but by the artist’s where ited in the show, especially—at even—or,This is an important reminder that more accurately, canvases and nudes. the height of visually discordant modes. Picabia worked in multiple the Dada movement, initials appear in multiple works by Picabia and Duchamp from this moment (figs. initials appear in multiple works by Picabia and Duchamp from this moment “She they translate as, in French, Fig. a series of figurative works likely begun in sloe-eyed Espagnoles, quasi-Ingresque, the first public display of Picabia’s (fig. or 1917 as early as 1916 paintings (fig. Rectified readymade: reproduction on pencil of ’s one is entirely subjective. Picabia’s simultaneous display of Espagnoles and modernist mechanical paintings simultaneous display of Espagnoles and modernist mechanical paintings Picabia’s one is entirely subjective. and values of are dependent on the taste “bad” or “good” foregrounds the degree to which such judgments as works. who is consistently and deliberately placed in the hot seat by the artist’s the viewer, graph published to coincide with the show, and from contemporary reviews, only a few of his mechanomorphic and from contemporary reviews, show, published to coincide with the graph -

.

.

.

, no. 6 (July no. , vol. 2 (Paris: Le vol. ” , Œil du temps, 1964], 32). 32). 1964], Œil du temps, ’ Indeed, as MoMA painting conser Indeed, Francis See Michel Sanouillet, “Exposition Francis de P., G. Roman Jakobson, “Dada” [1921], [1921], “Dada” Roman Jakobson, See Picabia’s illustration of a tore- See Picabia’s Benjamin H. D. Buchloh, “Figures Buchloh, D. Benjamin H. 1. ador, published in 391 ador, Michel Sanouillet claims n.p. 1917): that Picabia began working on his Picabia (Sanouillet, in 1916 Espagnoles [Paris: L Arnauld Pierre suggests that the Espagnole project was not begun until sometime around the end of the First World World War: “It is thus tempting 12. 13. 14. 9. 10. 34–40. 1987), Press, 1 Picabia et “391 1966), and Marc 126; vague, Terrain Picabia et la crise des Francis Le Bot, (Paris: 1900–1925 figuratives, valeurs 179. 177, 1968), Klincksieck, Éditions December 24, , Journal Paris Picabia,” Biblio- in Fonds Francis Picabia, 1920; thèque littéraire Jacques Doucet, 4. p. 4, vol. Albums de presse, Paris, , in Literature reprinted in Language Krystyna Pomorska (Cambridge: ed. vator Michael Duffy has pointed out, this occurs sometimes even within the same work: witness M’Amenez-y 56) with its evenly applied two- (pl. toned background and precise curves partially slathered over in slapdash email Duffy, applications of Ripolin. correspondence with the author, 2016. February 16, to estimate that the Espagnoles were 1917) not begun before the period (c. when they would find their full and namely in the complete justification, nationalist context of the return to Ingres in the wartime and immediately Picabia: Francis (Pierre, postwar years” [Paris: Gallimard, sans aura La Peinture 196).2002], of Authority, Ciphers of Regression: Authority, of Notes on the Return of Representation October 16 in European Painting,” 60. (Spring 1981):

Dada was also the first 10 ). Hand-tinted illustration Hand-tinted ). Francis Picabia. solitude Petite au milieu des soleils 2.

A Little Solitude in the Midst of Suns ( published in Marie de la Hire, Francis Galerie Picabia (Paris: de1920), la Cible, n.p. Fig.

). “specter of derivativeness” and “historical secondariness” hovers over “historical secondariness” and “specter of derivativeness”

Spanish Woman Spanish ( From his first Impressionist canvases, many of which are argued to have been based on many From his first Impressionist canvases, 9 Buchloh has called the

. D

. H Francis Picabia. Espagnole 1.

to pursue itinerancy in aesthetic, social, and ideological terms. Picabia and Duchamp, in particular, in particular, Picabia and Duchamp, and ideological terms. social, art movement to pursue itinerancy in aesthetic, moment of birth, with Dada’s shared a nomadic attitude and a resistance to fixed positions that were consonant War. World that had sparked the First amid the ashes produced by the hate-filled nationalisms and rigid ideologies most aggressive statements about the need for constant change It is surely not by chance that many of Picabia’s particularly with the Dada movement, were made during and immediately subsequent to his intense involvement activities during these years multiplied, The range of Picabia’s and 1921. as manifested in Paris between 1920 and bourgeois culture they religion, art, as he and his fellow Dadaists waged an all-out assault on the morality, Fig. It is well known in the making of his artworks. or employ readymade materials as tools, use of photographs, upon his sources of inspiration—whether such strategies were always a matter of acting him, for Yet that he did. or scraps retrieved from the dustbin—and the works of other artists, African or Oceanic objects, transforming what by contrast, Picabia, With made and that declares itself to be highly original. “I” them into something an Benjamin his work from the start. his work from the postcards, to his pilfering from things as varied as technical drawings and diagrams, the writings of Nietzsche, writings of Nietzsche, the his pilfering from things as varied as technical drawings and diagrams, to postcards, and quotation, practice of parody, Picabia’s girlie magazines, highbrow art-historical references and It introduces the idea that reproduction, points in a decidedly different direction from Picasso. appropriation replication,This attitude firmly aligned and outright plagiarism can all be considered as generative strategies. as opposed to Picasso, movement, him with the younger artists and poets who were at the heart of the Dada individuality and creativity. whose worldview remained rooted in nineteenth-century concepts of heroic the linguist and literary theorist Roman Jakobson argued that Dada was In a prescient article written in 1921, in the sense that it critiqued existing conventions and formulas rather than the first self-conscious art movement, and that its defining strategy was not to be original but to be reactive. inventing them, Hand-tinted illustrationHand-tinted Marie published in de la Hire, Francis Picabia(Paris: Galerie de la Cible, 1920), n.p.

FRANCIS PICABIA OUR HEADS ARE ROUND SO OUR THOUGHTS CAN CHANGE DIRECTION 14 17 ANNE UMLAND FRANCIS PICABIA: AN INTRODUCTION

5)—in

(fig. has Les Amoureux The Lovers [After the Rain]) The Lovers (

Such paints were formulated 21 , La Révolution surréalisteLa Révolution

s la pluie) è , nos. 9–10 aliste é volution surr é Advertisement for Galerie van Leer van Galerie Advertisement for 5.

(October 1, 1927):(October n.p. 1, published in La R in published featuring Picabia’s Les Amoureux(Apr Fig. The kitsch materials such as the macaroni noodles or drinking straws that 23 24 (1930).

) Yet speaking of “commercial transactions,” Breton himself had purchased several paintings by “commercial transactions,” speaking of Yet 20 , by contrast, Picabia covered virtually the entire surface with Ripolin, Picabia covered virtually the entire surface with Ripolin, by contrast, la pluie), (Après Amoureux Les [II] (pl. 123), the pink and green Ripolin interventions are self-evident; In a painting such as Optophone [II] 123), (pl. 22 In to be easily applied, usually to things like interior walls or radiators, and to provide even, opaque coverage. coverage. opaque and to provide even, usually to things like interior walls or radiators, to be easily applied, and “love of ” Picabia’s Duchamp remarked in the preface he wrote for the 1926 sale catalogue that perhaps a tongue-in-cheek reference to the very particular way had led him to paint with Ripolin, “the new” of and cancel out older cover over, adjust, used commercial enamels: to amend, beginning in the 1920s, Picabia, works. completely obliterating its earlier state(s). Although it is easy to discern with a naked eye that Although it is easy to discern with a naked completely obliterating its earlier state(s). possible energy.” resistance to market discussion of Picabia and his successful Breton’s issue in which the very same October 1927 of presents an interesting case study in relation to the specifics this painting As such, first appeared. forces How and in what ways can it be Dada. in the years after anti-painting painting practice in the 1920s, Picabia’s Did they tactics? What were Picabia’s it was sold? in the end, the market system if, “thwarted” considered to have and of The specifics of the facture of Les Amoureux or were they complicit with it? critique capitalist culture, into the ways or insights, included in the Duchamp sale perhaps offer a series of clues, works other mid-1920s thereby earning the determinedly underminedin which Picabia might be said to have the value of his paintings, such as Breton. approbation of an avant-garde collector Camfield was among the first to suggest that Picabia had revisited a number of the paintings William Scholar using the type of com- “improvements” subjecting them to what might be called included in the Duchamp sale, mercial enamel paints often generically referred to by the brand name Ripolin. they visually declare themselves to have been applied, like graffiti, over the relatively precise black concentric like graffiti, they visually declare themselves to have been applied, work. “optical” circles of an earlier Les Amoureux (Après la pluie) (Après Amoureux Les one of these, Duchamp sale; in fact Picabia at the 1926 Picabia adhered to his contemporaneous works perform a comparably disruptive, debasing function, debasing function, disruptive, Picabia adhered to his contemporaneous Collage works perform a comparably défi au La Peinture paean to anti-painting, Aragon’s earning them praise several years later in Surrealist Louis A Challenge to Painting (A Challenge (pl. 148), was featured in a full-page advertisement for Galerie van Leer in was featured 148), (pl.

Francis Francis Singulier Francis Picabia: Francis La Peinture au défi, La Peinture , March 5, 1926; 1926; March 5, , Plaisir de vivre Stéphane Manier, “Une Vente “Une Vente Stéphane Manier, “Réponses à Francis Picabia, Surréalisme et la “Le Breton’s “Le Surréalisme et la Breton, “Picabia et la re- Audinet, Per Rrose Sélavy [Marcel Duchamp], Ibid. , Pierre, “Dalmau,” in “Dalmau,” Pierre, Rrose Sélavy [Marcel Duchamp], 25–26. , 92–96.idéal, See also Camfield, 17. 17. 18. 19. was published in La Révolution Peinture” 20. 21. 22. 23. 24. 1930), (Paris: Galerie Goemans, cat. exh. 15. 15. 16. Picabia,” Picabia,” Bibliothèque in Fonds Francis Picabia, Albums Paris, littéraire Jacques Doucet, 12, vol. p.de presse, 164. March 4, , La Volonté Georges Herbier,” Écrits 1; reprinted in Picabia, 1926, 222.critiques, , surréaliste in La Révolution Peinture,” 37; 9–10 1927): (October 1, nos. Le Surréalisme reprinted in Breton, 1928), (Paris: Gallimard, et la Peinture and translated in Breton, 41; Watson Simon trans. , and Painting Harper & Row, York: (New Taylor 1972), 20–21. Picabia: in Francis peinture,” n.p. “80 Picabias,” Singulier idéal, 244–45. et aquarelles in Tableaux, “80 Picabias,” Picabia appartenant dessins par Francis (Paris: Hôtel Marcel Duchamp à M. n.p. 1926), March 8, Drouot, in three installments between surréaliste It was 1927. and October July 1925 published as a book the following year [Paris: et la Peinture (Le Surréalisme 1928]). Gallimard, , 189. I am grateful to Michael I am grateful 189. Picabia, Duffy for suggesting the word “improvements.”

(p. 288, fig. 4), in 1918. 1918. in 4), fig. 288, m’ (p. Tu Picabia was interviewed on the occasion of the of the Picabia was interviewed on the occasion 17 19 15 Despite this, Picabia continued to paint—indeed, Despite this, for the rest of his life. 18 .] he has thwarted such maneuvers in regard to his own work with the greatest .] he has thwarted such maneuvers in regard to his own work with the greatest

.

.

The words of critic Stéphane Manier capture the way Picabia’s work troubled, and and work troubled, the way Picabia’s The words of critic Stéphane Manier capture 16 Among the artists Breton concerned himself with in “Surrealism and Painting,” he made clear that he he he made clear that “Surrealism and Painting,” Among the artists Breton concerned himself with in Picabia’s mixed feelings toward the medium were shared by many of the erstwhile Dadaists who joined mixed feelings toward the medium were shared by many of the Picabia’s “[He] has feeling of disgust at the commercial transactions to which every experienced a particularly violent believed Picabia represented an exemplary case, even though the older artist had refused to join Breton’s group even though the older artist had refused to join Breton’s believed Picabia represented an exemplary case, Breton wrote. to count on Francis Picabia,” despite everything, “I shall continue, and even ridiculed it. would continue to trouble, commonly accepted definitions of beauty, quality, and taste: “He paints outside every “He paints and taste: quality, of beauty, commonly accepted definitions would continue to trouble, ignoring Good and Bad.” conception of Beauty and Ugly, This decisively split his trajectory from that of Duchamp, who made his last painting, who made his last painting, that of Duchamp, This decisively split his trajectory from Picabia’s identity, by contrast, is more complicated and conflicted: he is the great anti-painter who kept on who kept on is more complicated and conflicted: he is the great anti-painter by contrast, identity, Picabia’s to give it up. even, painting, unwilling or perhaps unable, was not among them.) Informed by their it must be said, (Picabia, Surrealist movement in 1924. André Breton’s the Surrealist poets damned paint- interest in the theories of Karl Marx and the egalitarian ideals of communism, of art most deeply implicated in and the category the expensive product of genius, ing as fatefully individualistic, on some level, The Surrealists also, proceeded to unfold. Twenties a booming commodity market as the Roaring the emblem of an and outdated, defunct, believed painting to be dead, advance, in the wake of photography’s some of them—noneAt the same time, old-fashioned tradition in which they had lost faith. more notably than Breton in a series of essays titled “Surrealism and Painting”—sought to justify the continued coexistence of provided encouraged even, painting and their revolutionary movement: to pursue it as a practice was permissible, the fight against the so-called a tool enlisted in a subversive weapon, that it function as an agent of aggression, reality of the bourgeois and the status quo. The art market and the arbitrary character of its appraisals were particular targets of Picabia and Duchamp The art market and the arbitrary character both during and after the Dada years. This did not, however, preclude their direct engagement with the market however, This did not, both during and after the Dada years. works sale of Picabia’s a major complicity, undoubtedly with his friend’s Duchamp staged, In March 1926, itself. The result amounted to a mid-career retrospective that provided collection. purportedly from his own (Duchamp’s) The catalogue lists oeuvre for the first time. analyze the entirety of Picabia’s the Paris press with the opportunity to Monster “Ripolin” Impressionist canvases to his most recent early eighty works ranging in date from Picabia’s paintings and Collages. is subject today [and like a French-accented directive to “look.” Picabia’s promulgation of what is at once a wry erotic pun and, for and, of what is at once a wry erotic pun promulgation Picabia’s like“look.” directive to a French-accented givens while a direct attack on painting and its to pay attention in works that mount an invitation Anglophones, forces us to think that seem to celebrate tradition as the Espagnoles, such other works, simultaneously pursuing plausibly accommodate all the ways in which the Espagnoles for Moreover, of it. about art and our perceptions an ironic take on the interwar French offer has argued, Arnauld Pierre as art historian they also, bourgeois taste, (“return to à l’ordre retour Proponents of the conservative of Jean-Auguste-Dominique Ingres. fixation on the art the noble , of traditional values and le dessin français art as proof of the superiority Ingres’s order”) pointed to lineage of French academic drawing, which Picabia might be said to have irreverently applied to his sentimental Picabia might be said to have irreverently which drawing, lineage of French academic Spanish subjects in an ironic Dada jest. Duchamp sale and used the opportunity to express his profound ambivalence toward painting: “What would give to express his profound ambivalence toward painting: Duchamp sale and used the opportunity The facture of a picture hardly be to invent without painting. “would the artist said, me the greatest pleasure,” and painting bores me.” amuses me,

FRANCIS PICABIA OUR HEADS ARE ROUND SO OUR THOUGHTS CAN CHANGE DIRECTION 16 19 ANNE UMLAND FRANCIS PICABIA: AN INTRODUCTION

” (19.1 × 24.1” (19.1 cm). 2 ∕ 1

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). 1920. Gouache ). and pencil on .

Stratified Rocks, Nature’s Gift of Gneiss .

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.

.

.

.

for example). 9,

Max Ernst. Schichtgestein naturgabe aus gneis lava 9.

Lava Iceland Moss Fig. isländisch moos printed paper on board, 7 The Museum of Modern Art, New York. Purchase,1937 ), known today only through a photograph (p. 4) known today only through a photograph (p. Dance), Vitus’s St. ) (1921), Hot Eyes Danse de Saint-Guy ( Les Yeux chaudsLes Yeux ( During the , Picabia continued to pursue strategies of layering, masking, and superimposition in and superimposition in masking, Picabia continued to pursue strategies of layering, During the 1930s, With Picabia, however, the stakes are different. His layerings participate in his nihilism and self-negation His layerings participate in his nihilism the stakes are different. however, Picabia, With painting Picabia’s 8.

Fig. over which the artist painted La Feuille de vigne and a late-1940s reconstruction (pl. 74), Picabia created a work that could literally be seen through, one whose Picabia created a work that could literally be seen through, 74), reconstruction (pl. and a late-1940s in a manner surroundings, interior composition is almost entirely dependent on its external and unpredictable at (from the Other Side of the Glass) with One Eye, Be Looked such as To use of glass in works similar to Duchamp’s ( Even Her Bachelors, by or The Bride Stripped Bare Glass) (1915–23). The Large Almost an Hour (1918) for Close to, Picabia reprised the real-world string lines of Danse de Saint-Guy in of the late 1920s, Transparencies In his have a quasi-calligraphic and deliberately graphic quality creating curvilinear configurations that fluid paint, (pls. 156–168, for example). Motifs drawn from and popular culture are superimposed in complex for example). 156–168, (pls. and temporality but which intentionally fail to add cinema, that flirt with tropes of decoration, arrangements up or resolve narrative or composition. easily decipherable themselves into any one, of lavish formal and the organization yachting, interspersed with many other activities; gambling, his painting, were all significant preoccupations during the where he had moved in 1925, parties on the French Riviera, time demonstrate a keen interest in process paintings from this Picabia’s II. War World years leading up to and the to surface facture, and experimental materials that belies his own statements about being indifferent highlight as much as conceal the whose acts of over-painting Also unlike Ernst, do not. in a way that Ernst’s as Picabia would And to the point of incoherence. confound legibility almost Picabia’s features of his sources, with In 1919–20, to be opposite sides of the same coin. transparency and opacity prove demonstrate as well, his Dada “masterpiece” into otherworldly, proto-Surrealist dreamscapes and narratives (fig. proto-Surrealist into otherworldly, works on paper, in which the artist used gouache to transform encyclopedia illustrations and other didactic images in which the artist used gouache to transform encyclopedia works on paper,

- , 98. Hall,

. 75. 1986), K

. G Ràfols,

Francis Picabia: Francis See Camfield et al., Townsend, Joyce H. Annette King, “Picabia et la re-peinture,” Audinet, Joan Miró to for example, See, quoted in Fransesc Joan Miró, . trans 1920; November18, F

. 25. 25. 26. “The Use of Ripolin by Picabia Gautier, 27. 28. J 29. , vol. 1, 327. I am 327. 1, vol. Catalogue Raisonné, grateful to conservator Michael Duffy and our colleagues at the Musée d’Art de Paris and the Ville moderne de la Centre de recherche et de restauration des musées de France for sharing their research with me. and Gwénaëlle Bronwyn Ormsby, 93; and in conversation with the author, 2013. October 17, “Una conversa amb Joan Miró,” Trabal, La Publicitat (Barcelona) 50 ( July 14, Miró: Joan translated in Miró, 1928); Interviews and Selected Writings Journal of the Journal Leaf (1922),” in The Fig 52,American Institute for Conservation 246–257. 4 (2013): no. Joan Miró: Selected Miró: Selected Joan lated in Miró, Margit ed. and Interviews, Writings Auster and Patricia Paul trans. Rowell, Mathews (Boston:

29 -

27 . ) ” 16 ∕ 3

× 62 4 ∕ The Fig Leaf 3

Traces of the prominent circular Traces 26 Similarly, one of Picabia’s large- one of Picabia’s Similarly, 8). 25

6).

) (fig. 7), ) (fig.

) (fig. waspaintedinRipolinoveranearlier, Francis Picabia. La Feuille de vigne ( 7.

Fig. Purchased 1984 Purchased (200160 cm). Tate. × 1922. Oil and enamel paint on canvas, 78 Do I have to remind you that what I detest most is lasting?”

. In a 1928 interview, Miró spoke of his disdain for the idea of In a 1928 interview,

.

28 .

s la pluie è Consider, for example, the case of the younger Surrealist painter Joan Miró, seemingly an attentive viewer seemingly painter Joan Miró, the case of the younger Surrealist for example, Consider, s la pluie) Radiograph showing Grimaldi apr è 6.

, although the de vigne, on the surface of La Feuille in ghostlike bas-relief, remain visible, chauds motifs of Les Yeux What is certain is is unknown. degree to which such traces would have registered with contemporary audiences and singu- became a central and defacement, cancellation, repudiation, as a form of revision, that over-painting, one that could be said to challenge commodification and con larly important anti-painting tactic of Picabia’s, sumption by declaring earlier states of his work to be worthless, not to mention rendering those prior states not to mention sumption by declaring earlier states of his work to be worthless, have taken note. that others would if not provable, and it seems entirely possible, thoroughly unmarketable, The Fig Leaf de vigne (The Fig La Feuille scale salon paintings of 1922, of Picabia’s work from 1920 or perhaps before. of Picabia’s Les Yeux (Hot Eyes chauds scandal-provoking mechanical painting titled Les Yeux Fig. - II abstrac War a quite thick and complex surface—and post–World many of Picabia’s is similar in this sense to tions—it that we know is only with the aid of technical imaging like radiography and infrared reflectography the work listed in the specifically from more than a decade before, that this work is painted over an oil painting (Grimaldi after the Rain la pluie catalogue raisonné as Grimaldi après for the idea that’s just sprouted, just emerged just sprouted, for the idea that’s of new forms. Among the Dada and Surrealist artists, however, it is not Miró but rather who most it is not Miró but rather Max however, Among the Dada and Surrealist artists, of new forms. earliest results consist of small-scale Ernst’s in this latter sense. actively pursued the practice of over-painting Of course, almost any painter at one time or another is likely to have painted over an earlier work, whether for almost any painter at one time or another is likely to have painted over an earlier work, Of course, as a catalyst for the creation words, as suggested by Miró’s or, damage, dissatisfaction, reasons of economy, (c. 1911–12) beneath the1911–12) surface(c. Amoureux of Les (Apr “lasting,” describing how, when he completed a work, it was only a point of departure for what he would do next: it was only a point of departure for what he would when he completed a work, describing how, “lasting,” a hotbed just a beginning, to me it’s Far from being a finished work, right on top of it. “I’d paint it over again,

FRANCIS PICABIA OUR HEADS ARE ROUND SO OUR THOUGHTS CAN CHANGE DIRECTION 18 21 ANNE UMLAND FRANCIS PICABIA: AN INTRODUCTION

-

errant Le Juif The Wandering ) Jew The Wandering Le Juif errant ( errant Le Juif (pl. , no. 57 (May

) and 189) But as seemingly clear as is Picabia’s reference to this historical reference to this historical But as seemingly clear as is Picabia’s 37 Valeria Ellanskaya from the Casino de 10.

The Adoration of the Calf Adoration The Fig. Paris, published in Paris-Magazine in published Paris, n.p. 1936): suggesting perhaps that the protagonist is as much a suave ladies’ man as 10),

was likely made between the enactment of anti-Semitic laws in Vichy in October 1940 in October Vichy was likely made between the enactment of anti-Semitic laws in errant Le Juif (pl. 188) insist that the political context and historical circumstances surrounding them cannot be ignored. them cannot be ignored. insist that the political context and historical circumstances surrounding 188) (pl. for works where he took the unusual step, , errant particularly in the case of Le Juif Picabia himself insists on this, recto. of inscribing a title and date on the of this period, the administrative body Juives, and the creation five months later of the Commissariat Général aux Questions responsible for implementing those laws. moment on the front of the work itself, what is not clear is how this painting and many of the others the artist many of the others the artist what is not clear is how this painting and moment on the front of the work itself, Given our knowledge today of the enormity of the German campaign made during the war are to be interpreted. it is only natural that our reaction upon first encountering a work such as to eradicate the Jews, at the as an artistic subject, would be horror and disbelief: could Picabia really have taken Jewish displacement that Jews across Europe were being deported and sent to concentration camps? we now know, same moment, like a piece the work is hardly a straightforward or transparent document that can be used, at the same time, Yet should we make of its title, for instance, What, complicity. to establish Picabia’s of evidence in a courtroom, particularly in light of Picabia’s which is based on a popular nineteenth-century anti-Catholic French novel, woman who appears behind the long history of iconoclasm in regard to the Church? Or the fact that the nude handsome, red-cloaked man—presumably photograph from subject—has the titular “nudie” origins in a 1936 a soft-core porn magazine (fig. century moment, should be drawn? Picabia clearly operated from a position of privilege—ascentury moment, of many par one not being Jewish—andtaking in the normative advantages of in the Nietzschean sense. of extreme individualism, other than “regime” to believe that he had no real commitment to any His published words make it all too easy and “heroism” words like as with the art, that with the man, This is not to excuse him but simply to say himself. “strong personality,” than a never less, and Picabia is never more, as they always had. rest uneasily, “progressivism” and his works As such, fueled by nihilism and prone to depression. willing to try anything, perennially restless, paintings from this time, At the same As well they should. They make us uneasy. his attitudes are discomforting. ( du veau moment such as L’Adoration

- -

,” .”

PICABIA PICABIA Francis Picabia: Picabia: Francis In a human society that Für Francis Picabia: das Picabia: das Für Francis

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“Synthese: Affaire Francis “Synthese: Affaire Francis see the entry For this suggestion, Francis Picabia to Germaine Regarding these works as a con- Bois, Yve-Alain As suggested in for example, article, In a 1922 Francis “Jeunesse,” Picabia, in errant Le Juif 35. 35. 36. 37. 30. 30. 31. 32. 33. interest there will promises us communism, be no place for what makes you and (Francis Picabia to Gabrielle I unique” in the Départ- 1945; c. Buffet-Picabia, Bibliothèque ement des manuscrits, nationale de France). 34. on Singulier idéal, 374. Everling, September 3, 1939; transla- 1939; 3, September Everling, Picabia, 394.tion adjusted from Borràs, Dada practice, tinuation of Picabia’s “Un Modernisme Arnauld Pierre, see in ‘Popiste’: Les Nus de Picabia,” Suzanne ed. Les Clefs d’une passion, cat. exh. Pagé and Béatrice Parent, 2015), Vuitton, (Paris: Fondation Louis 214–217. “Francis Picabia: From Dada to Thomas Repensek, trans. Pétain,” October 30 (Autumn 1984): 123n6. is true that my “It Picabia writes: French and Spanish origins are from old Latin races which will soon disap- pear and be replaced by the children with pretty faces” Israelites of Einstein, Comœdia, (“Jusqu’à un certain point,” reprinted in Picabia, 1; 1922, April 16, More than two 124). Écrits critiques, when Picabia learned decades later, “was that his studio in Golfe-Juan following the taken by some Jews” he complained liberation of France, “These to Gabrielle Buffet-Picabia: dirty egoists are vulgar individuals, who think only of their financial in Olga Mohler March 1941; , L’Opinion [Picabia], Album Picabia-Mohler [1975] Olga von 1981), (: Brinkmann & Bose, “Jeunesse” excerpts from For 125. and a selection of other politically see charged statements by Picabia, “FrancisBois, Picabia: From Dada 120–27. to Pétain,” Bureau de la Documentation, Cour Bureau de la Documentation, Alpes-Maritimes et de Justice des Section de Grasse, Chambre Civique, 0067,2260W Dossiers de procédures pénales avant about à un non-lieu, Archives 66 ans.” Francis, “Picabia, départementales des Alpes-Maritimes, Although substantive gaps remain . activi in our understanding of Picabia’s during the Occupation and imme- ties newly diately following the Liberation, accessible judicial and police archives the in the south of France related to including those referencedperiod, have helped to form a clearer here, original Séverine Gossart’s picture. published research into these archives, also forms the here for the first time, precise chrono basis of Rachel Silveri’s detailing of the charges brought logical against Picabia and their ultimate dis- Funny Guy, “Pharamousse, in missal, The Life of Francis Picabia the Loser: in this volume. Picabia,”

33 31

30 (pl. And on the other, they foreground they foreground And on the other,

) Picabiaappliedmultiple 178), 32 (“purge”) that followed the épuration I spend my time thinking that this is

.

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Fratellini Clown Fratellini The fact that he was arrested by French authorities in October 1944 on The fact that he was arrested by French authorities in October 1944 Although Picabia was eventually released, never to be tried, the accusa- never to be tried, Although Picabia was eventually released, 5 34 3 He left the south of France in June 1945, never to return again. He left the south of France in June 1945, 36 front, but if this is not so it will mean the end of Europe but if this is not so it will mean the end front, and that I must wake up if I want that it is a nightmare that it cannot last any longer, going to end, it to end. We should all have emigrated across the Atlantic so as not to see this. should all have emigrated across the We it to end. [E]vents seem to be getting worse and worse. The fire is lit from dawn yesterday, the ordeal of The fire is lit from dawn yesterday, [E]vents seem to be getting worse and worse. The only a thing to be feared. It’s lunacy is taking over. now a tragic the war of nerves is finished, will be confined to the German-Polish Maybe hostilities attitude. unknown factor today is Italy’s Occupation and began a new series of photo-based realist paintings Picabia continued to work during the The crucial question to consider in this context, however, is less whether or not Picabia was justly accused however, The crucial question to consider in this context, He is likewise on record with remarks that are pro-Mussolini, anti-Lenin, and seemingly pro-Pétain, although pro-Pétain, and seemingly anti-Lenin, He is likewise on record with remarks that are pro-Mussolini, the sincerity or irony of his of the then eighty-four-year-old Pétain, “youth” as when he wrote praising the often, is impossible to ascertain. statements Liberation. tions of collaboration during the ugly period of continued to haunt him on the world stage. unprecedented during which the once proud continent of Europe suffered Picabia lived through two world wars, Switzerland when Germany He was visiting the mass murder of its citizens. material and cultural devastation and His anguish over world events II. War World of marking the outbreak 1939, invaded Poland on September 1, is from Rubigen to his former partner and close friend Germaine Everling: evident in letters written 400 to the north of their home in Golfe-Juan. miles appear to represent one of his more astonishing volte-faces. at least, which superficially, for example), 182–195, (pls. Picabia was not one to refrain from making offensive anti-Semitic statements. Semitism but fueled the rise of Hitler, Ultimately, however, Picabia and his companion, Olga Mohler, seem to have decided to remain in Europe, seem to have decided to remain in Europe, Olga Mohler, Picabia and his companion, however, Ultimately, they found France, invasion of Germany’s following In July 1940, returning to the south of France by October. some Vichy, centered in puppet regime, of General Philippe Pétain’s themselves living under the authority coats of green-tinted varnishes to create a work that is as willfully repulsive as it is difficult to look away from, to look away from, as willfully repulsive as it is difficult varnishes to create a work that is coats of green-tinted creeping doom of the troubling malaise and sense of not to read as symptomatic and one that is impossible and totalitarian ideologies loomed as the threat of fascism throughout Europe, that was spreading statements of others who characterize him as a proto-Conceptual artist indifferent to the making of things or of things or artist indifferent to the making who characterize him as a proto-Conceptual statements of others in paint supplies function of the difficulties in finding to unusual materials simply as a who attribute his turn ( such as Le Clown Fratellini In works the south of France. as a collaborator, but rather: how does our knowledge of Picabia as a political subject inform our reading of his but rather: how does our knowledge as a collaborator, at our twenty-first- What conclusions, wartime works? Does it change the way we perceive his achievements? Created by an artist who was, by that point, in his early sixties, these works combine kitsch subjects, popular popular subjects, these works combine kitsch in his early sixties, by that point, Created by an artist who was, to flirt naturalist style seems their mimetic, On the one hand, and politics in an inflammatory mix. culture, Third Reich. dangerously with that of artists officially sanctioned by the Picabia’s problematic status as a political subject. Born into a Europe that not only tolerated an endemic anti- Born into a Europe that not only tolerated an endemic problematic status as a political subject. Picabia’s charges of being a collaborator does not help matters, for those of us who would prefer that artists have morals for those of us who would prefer that artists have morals being a collaborator does not help matters, of charges and ethics as exemplary as their art.

FRANCIS PICABIA OUR HEADS ARE ROUND SO OUR THOUGHTS CAN CHANGE DIRECTION 20 23 ANNE UMLAND FRANCIS PICABIA: AN INTRODUCTION - The thickly painted, unruly The thickly painted, 43 Picabia coupled his own name to one of these 44 ) (pl. 76); scattered dots of painted ) (pl. Eye The Cacodylic Picabia in his studio at 82 rue des 11.

Fig. Petits-Champs, Paris,1948–49 c. Sprinkled across each of this leaflet’s four pages, with a particular proliferation on the cover, were refer with a particular proliferation on the cover, four pages, Sprinkled across each of this leaflet’s surfaced Points were presented as a circling back to Picabia’s avant-garde beginnings; back to Picabia’s surfaced Points were presented as a circling his ongoing interest in to was that modernism Greenberg’s Clement Was it did not make the cut. “figuration” and “realism” modes of at least when we reflect with them? It is a question that may yet linger, blame or the baggage such works brought between avant-garde abstraction and regressive But with stark oppositions historical reception. upon Picabia’s for the complexities of subjecthood and history, and with a new appreciation figuration no longer seen as tenable, these works with fresh eyes. and today we are ready to look at its relevance has faded, wheels”; the feeling of going forward and yet going “spinning one’s The idea of circular movement; the phrase are invoked by Picabia in his writings model of eternal recurrence as an ancient trope—all nowhere; Nietzsche’s targets; the whirling gears, circles appear in the form of wheels, As visual motifs, over time and in his works. ( cacodylate pupil of the prominent Ripolined eye in L’Œil each with their own individ- “points” confetti; repeated graphic elements drawn in paint or ink; and as impastoed cohabitating with a strange 239), 238, last paintings (pls. They are also present in two of Picabia’s “aura.” ualized that or red threads, these circular elements are among the connectors, As such, shrouded figure in one of them. when Picabia Returning to the early 1920s, present to past. and linking past to present, career, traverse Picabia’s he traveled in with his name, coined many of the pithy aphorisms that have come to be indelibly associated titled leaflet a published he there, While d’Azur. CÔte the on resort a Saint-Raphaël, to Paris from 1922 February 79). (The Pinecone) (pl. de pins La Pomme an ultimately ill-fated yet ambitious international conference organized by Breton ences to the Congrès de Paris, “modern spirit.” that was intended to identify the sources of the traditional or “regressive” aspects of Picabia’s achievement were simply left out. left achievement were simply aspects of Picabia’s “regressive” traditional or

, Paris-Soir 130, no. 1 no. 130, PMLA For images of “the wandering Jew” “the wandering Jew” For images of “Soleil,” Francis Picabia, “The More Henry McBride, Ibid. trans. Paint,” “Wet Michel Seuphor, “The Art Robert Galleries: Coates, For a thoughtful discussion of the (January 2015): 37–53. (January 2015): 38. 38. 39. 40. 41. 42. 43. 44. produced during the Nazi regime in “Der Benz, Wolfgang see Germany, Metaphern und Methoden Jude:” ewige Propaganda nationalsozialistischer 2010). (Berlin: Metropol-Verlag, reprinted in Picabia, 1; 1926, March 5, Écrits, ed. Olivier Revault d’Allonnes 2, vol. and Dominique Bouissou, et posthumes (Paris: Pierre 1921–1953 1978), 177. Belfond, Art News, the Better,” Abstract, March 1950; in Mohler [Picabia], Picabia, 158.Für Francis exh. in Picabia, Dollie Pierre Chareau, Rose Fried Gallery, York: (New cat. text was origi- Seuphor’s n.p. 1950), “Peinture fraîche” nally published as for an earlier Picabia show at Galerie in November– Paris, des Deux-Îles, December 1948. The New Yorker Abroad and at Home,” 1946): 83. 7 (March 30, no. 12, “Feder- see Marius Hentea, Congrès, The 1922 ating the Modern Spirit: Congress of Paris,”

1). 1). 1

2 4 41 ” .

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) [after] more than 35 years of seeking, of adventurous life, of adventurous life, years of seeking, ) [after] more than 35 included statements from twenty artists, critics, and friends, and listed and listed and friends, critics, included statements from twenty artists, journal, published in Barcelona, New York, Zurich, and Zurich, Paris between York, New 1917 published in Barcelona, journal, Approaching seventy, and, after a jewel theft in his apartment in 1949, relatively relatively after a jewel theft in his apartment in 1949, and, Approaching seventy, 39 and title both in its large-format brochure recalled, ), of Pleasure Years 50 (491: ans de plaisirs 50 491: According to McBride, Rose Fried said: “‘We did not include anything from the long middle anything from the long middle did not include “‘We Rose Fried said: According to McBride, (pl. 23), prominently displayed in the hall of honor at the Musée prominently displayed in the hall of honor at the Musée 23), and Edtaonisl (pl. 22) Udnie (pl. 40 Typically, Picabia leaves us with questions, not answers, in works that bear witness to the troubling moral in works that bear witness not answers, Picabia leaves us with questions, Typically, In his essay for the exhibition catalogue, artist and critic Michel Seuphor, one of Picabia’s postwar champions, postwar champions, one of Picabia’s artist and critic Michel Seuphor, In his essay for the exhibition catalogue, that join hands with This year he has burst out like fireworks into a series of astounding canvases (Udnie and Edtaonisl 1913 the fine work of passionately in love with play and pleasure. The cycle is complete. Picabia has rediscovered the juice Picabia has rediscovered The cycle is complete. passionately in love with play and pleasure. The same painting anti-painting that is real creation. of the dada period; the same careless grace. Once again it is he who leads the way to freedom for the youth of today. In March 1949, an important retrospective exhibition of Picabia’s work opened in Paris at Galerie René important retrospective exhibition of Picabia’s an In March 1949, 38 period,’ but offered no reason why. Nor did she say who ‘we’ are. Probably the ‘we’ included Marcel Duchamp, Duchamp, ‘we’ included Marcel Probably the ‘we’ are. Nor did she say who no reason why. but offered period,’ linked Picabia’s early abstractions and Dada works to his current paintings: linked Picabia’s In Picabia’s Paris retrospective, at least, figurative works from the 1920s and ’30s had been shown. In New York, York, In New had been shown. and ’30s 1920s figurative works from the at least, Paris retrospective, In Picabia’s by Robert“” Coates in all 1946, the nominallyon the heels of the first use of the term wartime paintings. Approximately one year later, a much smaller retrospective was held on the other side of the the of side other was held on the a much smaller retrospective Approximately one year later, wartime paintings. this show to 1949, performed as including works from 1908 Billed York. at the Rose Fried Gallery in New Atlantic, paintings—and, Occupation Of the his interwar work. all an even more pronounced elision of Picabia’s indeed, or earlier; the remaining six were all from Picabia’s twelve were completed in 1917 eighteen paintings included, bodies two the between The yawning chronological gap most recent series of abstractions known as the Points. been doing in between remained of work prompted critic Henry McBride to remark that what Picabia had “a mystery.” for he was mentioned as assisting with the show. and 1924 (pls. 41–47, for example). 491 example). for 41–47, (pls. and 1924 impoverished, he nonetheless pursued a vigorous campaign of painting and other artistic activities (fig. he nonetheless pursued a vigorous impoverished, frequently erotic motifs bore little visual The crusty surfaces of the canvases he created and their abstract, thick, establish however, They did, he had produced during the Occupation. relation to the photo-based paintings many associated among a younger generation of French abstract painters, Picabia as a contemporary participant of two of his great early The rediscovery and restoration Art Informel. with the tendency that came to be called abstractions, not only as a current practitioner importance further established Picabia’s national d’art moderne in May 1948, trends in contemporary . but as a precursor for the new abstract Titled Drouin. important 391 Picabia’s layout (fig.12), notable exception of any of the photo-based with the to 1949, works ranging in date from 1897 more than 130 sincere or insincere? Romanticizing or callous? Demonizing or idealizing, or idealizing, Romanticizing or callous? Demonizing sincere or insincere? errant Is Le Juif a persecuted refugee? Germany at the same subject that were coming out of the often heinous depictions of the especially relative to time? to move south for “the sun.” to move south for ambiguities of this dark historical moment and the artist’s own. dark historical moment and the artist’s ambiguities of this the he was a changed man relative to and was a changed city, It live in Paris in June 1945. Picabia returned to years prior when he chose he had been some twenty avant-garde artist-cum-provocateur wealthy, debonair,

FRANCIS PICABIA OUR HEADS ARE ROUND SO OUR THOUGHTS CAN CHANGE DIRECTION 22

). Edited). by Michel Tapié. 491: 50 of Years Pleasure491: Picabia could hardly have foreseen in 1922 how often, and in what ways, his career would prove these words his career would prove these and in what ways, how often, Picabia could hardly have foreseen in 1922 491: 50 ans de 491: plaisirs ( 12.

Exhibition brochure. Paris: Galerie front René and1949, Drouin, back covers of the individual artist’s right to choose. Oppositions between high art and kitsch, progression and regression, progression and regression, Oppositions between high art and kitsch, right to choose. of the individual artist’s relative or This is not to say that all becomes and success and failure are undone. modernism and its opposite, to state with certainty that the heterogeneity however, It is, that notions of quality and greatness no longer obtain. and that modern art, career prompts awareness of the need for new narratives of twentieth-century of Picabia’s we are all in his debt. this, For nonconformist genius offers a powerful alternative model. unruly, his irrepressible, more unpredictable place because of him. more complicated, The world of art is a richer, de changer de direction” (“Our heads are round so our thoughts can change direction”). They provide a useful (“Our heads are round so our thoughts can change direction”). de changer de direction” elusive body of work. way of thinking about the significance of Picabia’s a desire to be consistently inconsistent, They express a certainty in uncertainty, to be both a witticism and a rule. and constructive in their assertion in ways that are simultaneously as negative and nihilistic as they are positive was among the factors that led to the Congrès’s cancellation and to the final dissolution of Paris Dada, from from Dada, cancellation and to the final dissolution of Paris Congrès’s was among the factors that led to the de pins is covered with words printed in different La Pomme before. which Picabia had taken his leave months forcing intentionally disorienting directions, The text is placed in multiple, sizes and using different typefaces. from left to right Stretching to rotate the leaflet around and around in order to read. the viewer to be active, “Notre tête est ronde pour permettre à la pensée appear the words: title, just above the publication’s on the cover, Fig. and , Aragon, and did the same with the names of Breton, typographical references to the Congrès whose public fight with Breton Tzara, Tristan was the name of Notably absent in this context among others.

FRANCIS PICABIA OUR HEADS ARE ROUND SO OUR THOUGHTS CAN CHANGE DIRECTION 24 27 GORDON HUGHES FRANCIS PICABIA, ONCE REMOVED

6

5

7 ,” such that ,” Gustave Loiseau’s Gustave Loiseau’s 8 The dig would have 10 , the only painting in the salon of the only painting in the salon of , [of] the master of Giverny

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But of all the artists whom Vauxcelles Vauxcelles But of all the artists whom .

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In addition to Moret, there was no shortage In addition to Moret, the very painter from whom he so skillfully cadged. the very painter from various Monet knockoffs gave further credence, as credence, various Monet knockoffs gave further Vauxcelles to his trouncing by if any were needed, “servile as a Salon d’Automne in the previous year’s of others in the salon who were similarly guilty of others in the salon who were similarly Giverny (Théo) Earl Butler’s Theodore as charged. (Giverny )—anl’hiver in Winter easy target—pre- Vauxcelles sented a quite literal example of what while George Givernyism,” new cliché, “a scorned as Renoir Morren and Georges d’Espagnat recycled anew for the umpteenth time. could have singled out for rough treatment in his it becomes clear that he has set his review, 1905 even as he declines to sights squarely on Picabia, Following his condemnation of Monet’s name him. the critic proceeds to attack the kind of imitators, merely copies the as he describes it, painter who, “beautiful effects of the bridge at Moret-sur- same Loing celebrated by Sisley.” Moret, the painter, thus bears a precarious relation to thus bears the painter, Moret, the were one to mistake which, his own proper name, in concert with the subject could, middle r for an n, be misread as belonging easily matter and brushwork, roughly textured paint surface and the palette of surface and the palette of roughly textured paint to had Moret firmly in mind then Vauxcelles No doubt (at best) and when he railed against those copyists “set up their easel at the plagiarists (at worse) who “in front of the or foot of the same cliff at Étretat” same rock at Belle-Ile as .” sycophant of Loiseau takes from him with the virtuosity “M. a burglar.” deep blues and greens with which Monet had captureddeep blues and greens of Belle-Ile.” such as The Rocks the coastline in works been immediately apparent to anyone familiar with been immediately apparent to anyone familiar with - du che Seemingly directed at Le Pont work. Picabia’s min de fer (Moret) Vauxcelles’s without) a bridge, indeed, Moret with (or, barb could easily have applied more generally to William For as work at the time. an array of Picabia’s Picabia Arnauld Pierre remind us, Camfield and

), 3 Although not mentioned by name, Although not mentioned by name, 4 Le Pont Le Pont main entry in the 1905 salon, Picabia’s Indeed, critics such as Vauxcelles bemoaned loudly bemoaned Vauxcelles critics such as Indeed, the very hallmark of being and often that originality, if not was fast becoming, true to oneself artistically, then increasingly lost to art as a a lost art exactly, And nothing exemplified of value. a marker concern, secondhand this problem more than the shopworn, be seen in that was everywhere to For unlike the first wave the 1905 Salon d’Automne. who of nineteenth-century Impressionist painters “sensa- famously aspired to represent their unique tem- of nature through the prism of individual tions” vast majority of twentieth-century the perament, the worldersatz Impressionists no longer represented vision but through the perceptual lens of original impressions of instead replicated the prefabricated prior artists—natureseen through the temperament as Émile Zola might have put it (butof others, exactly). didn’t, have stung many within in it. For as Vauxcelles must Vauxcelles For as in it. have stung many within claims to the and despite his surely have recognized, not just many but most of those on display contrary, “be exhortation that an artist fell well short of his sensations.” offering up never-before-seen himself, unquestionably skilled in its mixing of alla prima is painted with a wet-on-wet and drybrush scumble, deftness of touch as reminiscent of Claude Monet or as its central image of the titular bridge. Making the problem. exactly of course, Which is, matters that much worse is its association with Moret. For in addition to being the name of a town made it famous by the late-Impressionist work of Sisley, widely Henry Moret, is also the name of a painter, “typical of those who known in his day for being as made a career of reproducing Impressionism,” one who parroted the describes it, Wright Alastair the thickly encrusted, “distinctive pictorial language, one painter in particular appeared to exemplify this one painter in particular appeared to the precocious twenty-six- Vauxcelles: problem for whose recent embrace of Francis Picabia, year-old Impressionism was in full swing. de fer (Moret)du chemin [Moret] Bridge (The Railway

Matisse and the , October 14, Gil Blas, Vauxcelles, “Le Salon d’Automne” “Le Salon d’Automne” Vauxcelles, Richard Shiff places Zola’s famous Richard Shiff places Zola’s Alastair Wright, makes exactly this in ibid., Wright, “Le Salon d’Automne” Vauxcelles, Ibid. “Le Salon , Louis Vauxcelles, “Le Salon Louis Vauxcelles, Ibid. “Consulting the Salon Ibid. 0. de de Mercure “Le Salon d’Automne,” 378. 1905, December 1, , France they constitute little more than the inert the dead weight of a generation.” matter, 4. 5. 6. 7. 8. 9. 1 1. 2. 3. dictum that “a work of art is a corner dictum that of nature seen through a tempera- 1880 taken from the novelist’s ment,” “The Experimental Novel,” essay in the broader context of the late nineteenth-century emphasis on artistic originality in Cézanne and A Study the End of Impressionism: and Critical Technique, Theory, of the Art (Chicago: of Modern Evaluation 1984). University of Chicago Press, Subject of Modernism (Princeton: 2004),Princeton University Press, 30–31. “The similarity between Moret’s point: names—and consequently, and Monet’s between their painted signatures— underlined the close affiliation between follower and forebear.” (1905). d’Automne,” 1904, n.p. (supplement), Gil Blas (supplement), d’Automne,” All translations n.p. 1905, October 17, are my own unless otherwise noted. Charles Morice writes d’Automne,” “and you will in his 1905 review, to false irresistibly, logically, be led, be persuaded will You conclusions. that Impressionism is still triumphant, that young artists understand them- selves in relation to their paintings, that they prefer landscapes to figures, that they have no worry when it comes to the great ternary of art: composi- This is, decoration. expression, tion, what a good thousand of the at least, works exhibited in the salon 1,636 But exactly the appear to confirm. Let us not stop at these opposite is true. thousands of secondhand works; for all of their futile gesticulating efforts, (1905).

2 By no means, however, did this however, By no means, 1 1 1 19 – 5 In casting his praise of that year’s offerings In casting his praise of that year’s 190

praise extend to French art as a whole. Far from it. Far from it. praise extend to French art as a whole. in his view makes abundantly clear, Vauxcelles As their elite the best works in the exhibition satisfied from—obligations by virtue of their difference their superiority over—theindeed, standard fare, sloughing off the atrophied modernism that was Impressionism above all, everywhere around them, or what passed for it thirty or so years after the fact. Vauxcelles congratulates the salon Doffing his hat, sincerely or cynically, “who, jury for rejecting those place Impressionism within reach of the Bourgeoisie, exploiting the technique of Sisley or Pissarro like plagiarizing with virtuosity the work a brand name, of modern pleinairists.” against the otherwise dismal state of artistic affairs— separating the wheat of the salon from the chaff that French modernism had become more generally—the accolades must have rung hollow for many critic’s just as his denouncements must seeing the exhibition, Noblesse oblige: with elite status, as the old saying as elite status, Noblesse oblige: with And such responsibility, comes responsibility. goes, opens Vauxcelles—he Louis in the eyes of art critic Salon d’Automne with this his review of the 1905 adage—weighs heavy indeed on those shouldering into the twentieth century. the mantle of modernism numerous other critics as he and Heavy because, had now tend to forget, and as we long complained, modernist the hard-won advances of ambitious at the painting appeared increasingly lackluster as once-radical efforts outset of the new century, worse, and, succumbed to mainstream popularity up to expectations of everbloom- Living emulation. was much harder than it turned out, ing originality, the first faint glimmers Vauxcelles, For it looked. and 1904, of improvement began to appear around by the time he wrote his review the following year by the time he wrote his review the following painters (famously designating a new group of he could hardly have been more effusive: “Fauves”), believe such a bouquet “I don’t he gushed. marvel,” “A enthusiasts has ever before been offered up to the of true painting.” 1: BEGINNINGS, 1:

CHAPTER GORDON HUGHES ONCE REMOVED FRANCIS FRANCIS PICABIA,

FRANCIS PICABIA OUR HEADS ARE ROUND SO OUR THOUGHTS CAN CHANGE DIRECTION 26 29 GORDON HUGHES FRANCIS PICABIA, ONCE REMOVED

17 16 ” .”

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(pl.

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Pine Trees, Effect of Trees, (Pine

painted six years later in painted six years later in Honorat [Cannes] Honorat (pl. 5), (pl. ‑ ) with his Neo-Impressionist work Honorat (Cannes) Honorat ‑ Between 1908 and 1911, Picabia updated his and 1911, Between 1908 as his primary source of influence. But But Fauvism as his primary source of influence. consis- these changes only emphasize the underlying his ravenous painting—namely, tency in Picabia’s and the mark- styles, appropriation of techniques, “tem- his own making vocabulary of others in lieu of 1903 Impressionist Comparing Picabia’s perament.” Seen vu de la citadelle (Saint-Tropez Saint-Tropez from the Citadel same title the of Pierre argues that, almost the exact same spot, the differences are appearances notwithstanding, given that “not meaningful in the least,” ultimately ‘new sensation’ before these “far from realizing a Confronted by such work caught between the two Confronted by such work caught between the two it is little extremes of imitation and originality, seemed unable or unwilling wonder thatVauxcelles to pass definitive judgment on Picabia. Crucially, however, Pierre is quick to stress that Pierre is quick to stress that however, Crucially, “sometimes justified reputation for despite Picabia’s not “should his stylistic appropriations insincerity,” the more as such, prevent us from appreciating, yellows and reds, turquoise and sky blue, bright greens, turquoise and sky blue, yellows and reds, Impressionism look shifting from Sisley’s several times, Neo-Impressionism to ’s to ’s already interpreted landscapes a Signac) a different brand name (a Sisley, authentic manifestations of his personality soleil à Saint Sunlight at Saint to combine the airy lightness of somehow manages with the Moret du Loing, bords Effet de soleil sur les Making this work all . heaviness of Les Châtaigniers the saturated colors—cadmiumthe more distinct are the smell of a late summer, early autumn evening. autumn evening. early the smell of a late summer, effet de Les Pins, 1906 is Picabia’s More striking still and violet—that as if they came straight out of look these sharp, used in small quantities, Often the tube. one would almost garish hues are unlike anything And at just over or Pissarro. Monet, find in a Sisley, its imposing size all but dwarfs seven feet by ten feet, its Impressionist antecedents.

- ), also ), work, work, heavier— Les Châtaigniers, Chestnut Trees, Effect of Trees, Chestnut (p

) managestoloosen, l. 4) Sunlight on the Banks of the Loing, Moret Sunlight on the Banks of the Loing, How to account for this about-face? Did the How to account for Moret du Loing, Effet de soleil sur les bords Take Effect of especially in the thick foliage of the trees and in the More uniform sky as it fades from light blue to deep. Les Châtaigniers and direct in its overall facture, exhibits none of the almost gentle dappling of paint leaden, almost—thanleaden, the older Impressionist’s critic simply grow disillusioned with his young pros- critic simply grow if not entirely escape, Sisley’s grip. It is far grip. Sisley’s if not entirely escape, pect, or change his mind? Did he mistake “similarities” “similarities” Did he mistake or change his mind? pect, Picabia the genuineAfter proclaiming for plagiarism? article—“a and his own, temperament that is his alone”—did his bets? Or perhaps— he opt to hedge could truly not this is my suspicion—Vauxcelles and his fellow critics had been decide whether he worrying that he had praised as authentic taken in, Looking closer at counterfeit. in fact, what was, one begins to sympa- work of this period, Picabia’s predicament. Vauxcelles’s thize with ( from 1905 (pl. 1). Again we see the pervasive influence 1). from 1905 (pl. and framing, composition, of Sisley in its brushwork, pinks in its slightly cloying palette (the saccharine or the over for instance, the distant line of trees, and even its its sense of nostalgia, hanging foliage), It also shares the overall airiness of Sisley’s locale. rendering the luminosity of the best plein-air work, scene such that it feels light in spite of the relatively that we see in Sisley or even in Effet de soleil sur les bords thick buildup of paint. By comparison, By comparison, thick buildup of paint. ( Nièvre Munot, effet de soleil, Nièvre Munot, Sunlight, , with its built-up layers and just the , Moret du Loing, and medium, right amount of variation in texture, Entirely to its credit, wetness to keep things fresh. there is nothing refined or polite in the paint appli- which looks more smeared , cation of Les Châtaigniers bringing out an unctuous quality to than brushed, is the way however, the oil paint. Most unexpected, although relatively generic , in which Les Châtaigniers feels entirely ungeneric in mood, in subject matter, carrying the distinct chill and—is it just me?—even

, sans aura La Peinture . Devil, unidentified publication; Devil, . See William A. Camfield, “Picabia’s “Picabia’s Camfield, A. See William Pierre, G in “Préface,” Léon Roger-Milès, “Notes d’art,” Louis Vauxcelles, , 42. sans aura La Peinture Pierre, 69.Ibid., in Fonds Francis Picabia, Bibliothèque in Fonds Francis Picabia, 1, vol. Paris, littéraire Jacques Doucet, “Picabia’s 16; quoted in Camfield, p. 50. 48, Part One,” Work: Life and 11. 11. 12. 284; La Peinture quoted in Pierre, 1991), 13. 14. 15. 16. 17. Francis in Francis Part One,” Work: Life and William Picabia: Catalogue Raisonné, ed. Beverley Calté, Camfield, CandaceA. 1, vol. Arnauld Pierre, and Clements, (Brussels: Mercatorfonds, 1898–1914 44; Francis 2014), Arnauld Pierre, and (Paris: sans aura Picabia: La Peinture 40. 2002), Gallimard, Pierre cites a letter from 51–67. to his oldest son, Lucien, in which he recounts with method unvarnished disdain Picabia’s the motif of his salon selecting for “by means of photography. painting For that he will Shocking!Wow!!! have a medal and be crowned a great de Camille Correspondance painter.” Janine Bailly-Herzberg, ed. Pissarro, Valhermeil, 5 (Paris: Éditions du vol. (Paris: cat. exh. Picabia, Exposition F. n.p. 1907), Galerie Haussman, 1; quoted 1905, February 10, Gil Blas, Work: Life and “Picabia’s in Camfield, 48. Part One,” , 51. sans aura

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for imi

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1892. Oil on canvas, . High praise, indeed. indeed. High praise, ) 15 ” .

But such attacks were .

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year after year, a temperament year after year, ” (45.8 × 55.5 cm). Private collection 8 ∕ It comes as no big surprise, then, to find other then, It comes as no big surprise, 7

Alfred Sisley. pont Le et les moulins de Moret-sur-Loing 2.

The Bridge and Mills ofMoret-sur-Loing 18 × 21 ( critics besides Vauxcelles denouncing Picabia by by denouncing Picabia Vauxcelles critics besides And hard to square with the harsh words that would follow by the next autumn. name as an “artist with a very specific gift “artist name as an and especially with Sisley, similarities with Pissarro, expresses, technique, and his alone that is his own, Fig. remarkably few and far between. Most critics chose remarkably few and far between. proximity to Sisley as an indi- instead to see Picabia’s “So much the promise. cator of the younger painter’s effused Léon better if he shares the same emotion!” in his comparison of the two artists. Roger-Milès feels the eter like Sisley, “So much the better if he, nal beauty of nature everywhere that it manifests!” but while so many dishonest followers plagiarize but while so many dishonest followers plagiarize steal their effects, and and Pissarro, Sisley, Monet, who already possesses a very individual Picabia, M. And among those who took this position—which And is a surprise—we find none other than Louis A mere eight months before his none- Vauxcelles. the critic pro- too-veiled disparagement of Picabia, “[T]here may be suggestions in him of claimed: tation [that] amounts to crude plagiarism when, as when, tation [that] amounts to crude plagiarism the technique, the craftsmanship, in the present case, are copied.” even the motifs,

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). 1904. 12 Likewise, most casual most casual Likewise, Moret-sur-Loing ( ” (65 cm). × 81 Private collection 8 ∕ (pl. 3), one of four paintings one of four paintings 3), (pl. 7

× 31 8 ∕ 5

Indeed, the critic need hardly have the critic need hardly have Indeed, 11 2).

1,

Francis Picabia. Untitled Picabia. Francis 1.

) Paris Notre-Dame, restricted himself to this particular scene. Next to restricted himself to this particular scene. ), Church (The Moret de Moret L’Église 1893 Sisley’s ) leaves Church (Moret Église de Moret 1904 Picabia’s no doubt as to its source. would) mistake observers could (and in all likelihood (Haystacks Moret Meules en Contre-Jour, 1904 Picabia’s famous ) for one of Monet’s Moret Sunlight, against just as they might mistake his Untitled haystack series, ( Oil on canvas, 25 painted a number of canvases that reproduce (read: painted a number of canvases that reproduce T the exact point of view as several copy) almost to a works by Sisley of the bridge at Moret-sur-Loing (figs. Fig. from a series examining Notre-Dame under different atmospheric conditions from an identical point of cathedral series. of Monet’s as an obscure variant view, photogra- penchant for using Add to all this Picabia’s phy rather than lived perception as the basis for his and the gulf between his art “impressions,” painted and the original ideals of Impressionism becomes all Picabia notes, Pierre as Indeed, the more evident. photographic postcardsused commonly as the source such material for much of his painting at this time, he uses a technology of copying to in effect, that, copy another artist (the anonymous postcard photog producing a copy of a copy. rapher),

CHAPTER 1 BEGINNINGS, 1905– 1911 28 31 GORDON HUGHES FRANCIS PICABIA, ONCE REMOVED

24 Thematizing counterfeit 23 (very short, often banal news items) (very short, divers fait to pledge his allegiance. The Kodak above to pledge his allegiance. The drawing of Max Goth accompanies a shortThe drawing of Max Goth accompanies orator Francis Picabia does not hesitate for one is his solemn sign.” Under the sign of photography—is his solemn sign.” devoid of sensi- a mechanical copying device that, blindly imitates whatever is placed before it— bility, minute entry headlined “Picasso Repentant,” as part of an as part of an “Picasso Repentant,” entry headlined titled “Whispers from Abroad.” The entry titled “Whispers describes from Abroad.” “to return order decision to leave Cubism in Picasso’s of Luc-Olivierto the École des Beaux-Arts (the studio who taught at the École des Merson, Merson).” was an academic painter who Beaux-Arts until 1911, for his 1908 designs if at all, is best remembered, is clear: then, The implication, of French banknotes. Picasso not only dons the Neoclassical garb of Ingres he does so in order and Merson in modernist guise, his own imita- better produce his own banknotes, to “Picasso is As the entry concludes: tion money. henceforth the leader of a new school to which our collab imitation Picabia swears loyalty not to Picasso but to fraudulence the always-present condition of modernism. itself, For in as he well knew. even this pledge is a fake, Yet he was—ironically—imitating the act of imitating, never more uniquely himself. on—indeed, imitates—hisartistic formation as own pasticheur par excellence. as the very basis of his Dada drawing, Picabia imitates his Dada drawing, as the very basis of his own Impressionist past as not just Picasso but a copyist—Picabia Even the photo- once removed. version some- head in Picabia’s graphically montaged nature of this drawing. how deepens the counterfeit merged his name with Ingres—And just as Picasso once famously quipped Picasso “Monsieur Ingres!,” upon seeing his reflection in a mirror—Picabia places announcinghis 1920 Dessin Dada beneath a headline Picabia.” “copy of an autograph of Ingres by Francis a the signature—on closer inspection, Except that, the very guarantor of authenticity—has been altered “the Just like the drawing, Ingres.” “Francis to read “was infected by the notes, as Baker again signature,” of forgery.” condition of the counterfeit, 20 with and of In the 22 condition Appearing in the first issue , dated January 25, 1917, it can 1917, dated January 25, , 3).

[T]he dangers of fraudulence, Crucially, as George Baker notes, Baker notes, as George Crucially,

.

As Cavell emphasizes, this As Cavell emphasizes, 21 .

19 .

as Rosalind Krauss describes it), Picabia draws as Rosalind Krauss describes it),

To Cavell’s list we could add any number of Cavell’s To works from Picabia’s Dada period, including a 1917 including a 1917 Dada period, works from Picabia’s I take to be an drawing of the critic Max Goth that engagement almost manifesto-like statement of his movies [art]? art.” are essential to the experience of [modern] trust, “The possibility of fraudulence, and the experience of fraudulence, “The possibility of experience of contem- is endemic in the fraudulence, even its immediate its full impact, porary music; that the object, depends on a willingness to trust relevance, difficulties may knowing that the time spent with its be betrayed.” with counterfeit (fig. journal 391 of Picabia’s be seen as one of his earliest Dada drawings, a cate- be seen as one of his earliest Dada drawings, later under the gory formally announced three years first with Marcel Duchamp’s Dada,” “Dessin rubric own Dessin followed by Picabia’s , Check Tzanck Dada of a photomechanically reproduced horse-race 71). ticket (pl. is not something passed through en route to hard- is not something passed but part and parcel of the very earned authenticity The philosopher itself. structure of modernism distinctive experi- writing about the Stanley Cavell, puts it like this: and art, ence of modern music modernism: “Is Pop Art art? Are canvases with a few Art art? “Is Pop modernism: Are the novels of stripes or chevrons on them art? Are art Alain Robbe-Grillet? or of fraudulence is fundamental to any engagement case of his drawing of Max Goth, the forgery at issue case of his drawing of Max Goth, much-derided pastiche was a pastiche of Picasso’s which is to say a pastiche of a pastiche. of Ingres, Neo- in his shift from Cubism to Ingres’s Indeed, Picasso had been widely accused of not classicism, a style but of producing just lifting another artist’s By copying Picasso kind of fraudulent modernism. copying Ingres (immediately evident in the drawing’s “brute juxtaposition of faux Picasso/Ingres-esque aggressively modeled head with extremely cursive body,” the at its incep- very category of Dada drawing was, “infected by the condition of forgery.” tion,

” that appears ” [1958] (Cambridge: ORIGINAL Press, 2007), 118–25. Press, MIT Cavell, “Music Discomposed,” “Music Discomposed,” Cavell, was originally hand- Check Tzanck 118. Ibid., , 113. The Picasso Papers Krauss, the Caught by Artwork The Baker, For more on this story, see Pierre, see Pierre, For more on this story, Stanley “Music Cavell, Duchamp’s Trumping in red ink. Dessin Dada of Picabia’s handiwork, the horse-race ticket uses a camera, the ultimate counterfeiter’s tool, to tool, the ultimate counterfeiter’s forge Inverting the logic of a drawing. who painstakingly makes by Duchamp, hand what is supposed to be mechani- Picabia mechanically cally reproduced, reproduces what is supposed to be For more a drawing. made by hand, on the relation between these two see George Baker, Dada drawings, Francis Tail: the Caught by Artwork The (Cambridge: Picabia and Dada in Paris The 20. 20. 21. 22. 23. 24. 18. 18. 19. works of art are easily mistaken “bad” such that and vice versa, “good,” for danger there exists an ever-present “nonexperts”) (and not just among on the one hand, of being duped, on or of dismissing true excellence, For more on fraudulence the other. and modernism discussed in relation Krauss, see Rosalind E. to Cavell, Farrar, York: (New The Picasso Papers 6–11. 1998), and Giroux, Straus, 188–89. drawn by Duchamp in imitation of both an authentic bank-issued check and a counterfeit check; it is neither, and thus it is a counterfeit of an origi- nal and a counterfeit of a counterfeit— a point made all the more forceful by the word “ , 124. Tail , 13–14. sans aura La Peinture Mean in Must We Discomposed,” Say? What We 2002), Cambridge University Press, important to note that in It’s 188. emphasizing the always-present possi- bility of fraudulence in twentieth- Cavell is not making a century art, reactionary or conservative claim: his point is not that modernism typically fails to meet certain necessary criteria or standards appropriate to the condi- for instance, tion of art—that Pop, art—but that it radically refigures isn’t the ways in which we ascribe artistic of artistic skill, In the absence value. quality (as opposed and even , argued by as famously to interest, Donald Judd and criticized by Michael throws doubt and modernism Fried), confusion—and along with them, the very real possibility of critical charlatanism—into the ways in which As a result, works of art are evaluated.

-

First he artistic 18 . Illustration . Max Goth , no. 1 (Barcelona,1 , no. January back1917): cover 25, Pharamousse [Francis Picabia]. Picabia]. [Francis Pharamousse 3.

published in 391 in published accompanying “Odeurs de Partout” (“Whispers from Abroad”), just to complicate matters—flashes of true originality, of his origins as self-professed account that Picabia’s discrep replete with the usual a counterfeiter should, true one’s through hard work and perseverance, to find, artistic voice—Picabia began to consider his Fig. be so widely known and retold? ancies and variations, goes like this: in order to finance in essence, The story, the young Francis his burgeoning stamp collection, col- painting (or possibly uncle’s) sold off his father’s each time replacing the missing lection piece by piece, As a testament work with a forgery of his own making. no one noticed until he confessed. to his skill, formation in quite different terms. Fraudulence, formation in quite different terms. recounted in 1923, Picabia clearly attached signifi- recounted in 1923, cance to this origin story as a kind of indirect allegory, not only for a certain direction his work began to take but also for a certain understanding of around 1917 Which modernism that accounts for that direction. rather than tread the path we typically like is to say, to think of as necessary to the development of true artistic maturity—cultivating early flashes of potential or at least its always-present potential, came to realize,

of

retains retains

) Adam and Eve ) (pl. 6), Landscape) (pl. (

La Femme aux mimo- La Femme manages to feel dis- Ève Jura (pl.

) 7)somehow (1

) 909)—which Fauvism, mixMatisse’s Is it any wonder then, given the uncomfortable Is it any wonder then, Indeed, as off-the-rack as Picabia’s Neo- Picabia’s as off-the-rack as Indeed, while the nude figures appear imported straight while the nude figures appear imported Portrait of Mistinguett Portrait Japonisme Whistler’s and , Gauguin’s Or notice effect. to strange yet undeniably distinctive despite being saturated with clear antecedent how, sources—theToulouse- Henri de Matisse, Nabis, Leonetto Cappiello—hisLautrec, Untitled circa 1909 ( . Straining under . Bathers 1907 André Derain’s from Adam et Ève its debt to Fauvism, and facility of tinct to its author regardless: in its ease best intentions to the con- drawing (despite Picabia’s in its slightly abrasive facture; or so it seems); trary, in the way that its somber background colors set off, the pink and white flesh tones and even clash with, in direct contrast to Matisse, in the foreground; and, Adam in the relish with which he genders his figures, And then there are works such as Picabia’s particular. ( du Jura Paysage circa 1909 and— skill, near plagiarism, pastiche, mix of imitation, representing a strain of the artist’s painting at its most representing a strain of the artist’s distinctive—most I’m tempted to say— authentic, in the years prior to his transition into abstraction. If its debt to Fauvism—André Alexej Derain and perhaps—isvon Jawlensky rather than Matisse, the work nev- immediately clear and unambiguous, ertheless exudes own artistic sensibilities. Picabia’s Impressionism can seem, we also see flashes of vision we also seem, Impressionism can see this, We and unique. that are equally personal ) Saint-Tropez Mimosas, with (Woman Saint-Tropez sas, Saint- and Untitled (Gabrielle Buffet-Picabia, (1908) Tropez flare, sensibility of touch and compositional Picabia’s of the back- particularly in the economical handling echoes theground patterning and the lantern as it hat. woman’s of the feather and the base of the shape Adam et Ditto with his 1911 which lifts certain passages almost directly out 8), (pl. (The Joy Vivre 1905–06 Le Bonheur de of Matisse’s for instance, in two clearly related portraits of his first in two clearly for instance, Gabrielle Buffet-Picabia—wife, Life),

CHAPTER 1 BEGINNINGS, 1905– 1911 30 33 PLATES

). 1906. ).

” (217 × 308.6” (217 cm). 2 ∕ 1

” × 10’ 1 16 ∕ 7

Les Pins, effet de soleil à Saint-Honorat (Cannes) Pine Effect Trees, of Sunlight at Saint-Honorat [Cannes] Private collection Pl. 2. ( Oil on canvas,1 7’

). 1905.

” (73.2 × 92.4 cm). 8 ∕ 3

× 36 16 ∕ 13

Effet de soleil sur les bords du Loing, Moret Effect of Sunlight on the Banks of the Loing, Moret Oil on canvas, 28 Philadelphia Museum of Art. The Gertrude Schemm Binder Collection, 1951 Pl. 1. (

CHAPTER 1 BEGINNINGS, 1905– 1911 32 35 PLATES

906. ). 1 00 cm). Private collection ” (81 × 1 8 ∕ 3

× 39 8 ∕ 7

Les Châtaigniers, effet de soleil, Munot, Nièvre Chestnut Effect Trees, of Sunlight, Munot, Nièvre Oil on canvas, 31 ( Pl. 4.

). 1906. ). ” (92 cm). × 73 4 ∕ 3

× 28 4 ∕ 1

Notre-Dame, Paris (

Untitled Pl. 3. Oil on canvas, 36 Jeff and Mei Sze Greene Collection

CHAPTER 1 BEGINNINGS, 1905– 1911 34 37 PLATES

909.

. 1 ). c ” (73.7 cm). × 92.1 4 ∕ Jura LandscapeJura 1

Paysage du Jura ( University of California, Los Angeles. Hammer Museum. Gift Stanley of Mr. N. Barbee Oil on canvas, 29 × 36 Pl. 6.

909. . 1

) ” (73 × 92 cm). 4 ∕ 1

× 36 4 ∕ 3

de L’Annonciade Collection, Saint-Tropez L’Annonciade de Saint-Tropez vu deSaint-Tropez la citadelle ée Saint-Tropez SeenSaint-Tropez from the Citadel ( Oil on canvas, 28 Pl. 5. Mus

CHAPTER 1 BEGINNINGS, 1905– 1911 36 39 PLATES

). 1911. ” (100 cm). × 81 8 ∕ 7

× 31 Adam and Eve 8 ∕ 3

Adam et Ève ( Private collection Pl. 8. Oil on canvas, 39

). ). c. 1909. ” (60 cm). × 49.2 8 ∕ 3

× 19 8 ∕ 5

Portrait of Mistinguett (

Untitled Solomon R. Guggenheim Museum, New York New Museum, Guggenheim R. Solomon Oil on canvas, 23 Pl. 7. Pl. 7.

CHAPTER 1 BEGINNINGS, 1905– 1911 38 41 GEORGE BAKER THE BODY AFTER CUBISM

”

4

∕

3

× 28 8 ∕ 3

rer’s print, the the print, rer’s rer’s female allegory in female allegory in rer’s ). 1911. Oil on board, 391911. ). 4).

(fig. ) Train Man on a Young (Sad triste dans un train It may press too far to see the notorious figure, Albrechtfigure, Dü Marcel Duchamp. Jeune homme triste dans un train 3).

3.

sad” sad” Sad Young Man on a Train geometric form represented in Dü irregular polyhedron that the allegorical figure seems reflections, as central to Picabia’s to contemplate, though such excessive polyhedrons and trapezoids Fig. Jeune which Picabia evokes here, and its precursor, homme (fig. canvasderivesfrom ButanymotioninPicabia’s of Cubism; and to his figures always launched into of Cubism; and to his figures always like Nude Descending a Staircase (No.2)motion, (1912) (100 cm). × 73 The Solomon R. Guggenheim Foundation. 1976 Venice, Collection, Guggenheim Peggy the trajectory of circulating, nonfigural planes, the trajectory of circulating, volumetric and even excessive, and of the intense, space-creating effect of the extremely high contrast For Picabia’s between abutting light and dark forms. resting still-legible figure seems securely seated, head on hand in an obvious homage to another “ Melencolia I ( Young Young

(pl. 10). 10). (pl.

Jeune fille ( Jeune ). 1912. ) Sad Figure 3 ( 81 cm). 81 Private collection riste Young Girl t ” (100 × 8 ∕ 7 Figure Figure

× 31 8 ∕ 3

2)

The defamiliarization of the body would The defamiliarization of the body would (fig. —a inmakingliteralthe itseems, lesson, Francis Picabia. Jeune fille ( ) 2.

Girl one of the languid, reclining bathers depicted in the one of the languid, to defamiliarize more interestingly, or perhaps, work, now mechanically and and estrange their bodies, physically (literally) disoriented. painting in the become a central stake of Picabia’s he At first, as he settled into Cubism. year to come, figure studies like the Spanish- painted simple bodies, flavored and darkening eclipse that is pictorial and the loss to convention of profil perdu question- painting of visual plenitude that Cubism’s In the same dark ing of painterly illusionism entailed. but much more advanced along the Cubist spirit, is Picabia’s pathway, title directly testifies to the artist’s The work’s Fig. dialogue with his new friend Marcel Duchamp; to conception the centrality of the body in Duchamp’s Oil on canvas, 39

- é-

) (1911), ) (1911), Press, 2007), Press, MIT His Art, Life, and Times and Life, Art, His See William A. Camfield, Camfield, A. See William Translated in Francis Picabia, I Am in Francis Picabia, a Translated Scholarship has identified this The rotated canvas is a cliché 231. The pejorative French term “ras French term The pejorative 231. refers to a gigolo and taquouère” See is typical of the French Riviera. “Des marginaux de luxe: Ralph Schor, les rastaquouères sur la Côte d’Azur de la Cahiers au début du XXe siècle,” 69 (2004):Méditerranée For 199–212. further discussion of the term and its I Am see Picabia, various connotations, a Beautiful Monster, 223. (Princeton: Princeton University (Princeton: Princeton University 22. 1979), Press, Francis Picabia: Francis 1. Marc Lowenthal trans. Beautiful Monster, (Cambridge: The 2. 3. painting as Printemps (Spring otherwise undocumented since being Salon des Ind exhibited at the 1911 pendants. one of of modernist abstraction, Vasily whose origin stories arises in memory of seeing one Kandinsky’s of his own paintings leaning on its side at twilight and being captivated by its See Leah unrecognizable forms. “Inventing Abstraction,” Dickerman, 1910–1925: Abstraction, in Inventing Art, Modern How a Radical Idea Changed York: (New cat. exh. Dickerman, ed. 18. 2012), Art, The Museum of Modern 1 -

, 1920 re zanne in the mode é Strangely, the canvas Strangely, 2 è sus-Christ rastaquou 1877).

é The portrait must date to just (c. 1).

1914 – 2 191

Francis Picabia, J Francis Picabia,

Picabia in his studio at — 1.

avenue Charles Floquet, Paris, 1912 Paris, Floquet, Charles avenue has been rotated and rested on its long side to echo has been rotated and rested on its long 32 Church bells, the sound of waves, the still calm of the sea, the sound of waves, bells, Church shampooing all so much are storms, sunsets, moonlight, with eyes, phallus should have for the blind penis; our have for a moment that we could believe their help we up close. seen love of the painter in his In a well-known photograph surrounded Francis Picabia poses in shirtsleeves, studio, and used-up cigarettes, by a chaos of discarded brushes, tubes of paint (fig. as we Cubism in 1912, before the onset of Picabia’s that char stare at the landscapes and nature studies But there 1911. Fauvist period in acterize the artist’s head hangs High above the painter’s are also bodies. nudes ina canvas that seems to be a study of female or perhaps C the spirit of Matisse, of his bathers or the visual display of a work like a work like of his bathers or the visual display of The Eternal Feminine Fig. CHAPTER 2: ABSTRACTIONS, 2: CHAPTER GEORGE GEORGE BAKER AFTER CUBISM THE BODY

FRANCIS PICABIA OUR HEADS ARE ROUND SO OUR THOUGHTS CAN CHANGE DIRECTION 40 43 GEORGE BAKER THE BODY AFTER CUBISM

“that occurs Horta de Ebro . 1909. Oil 1909. on canvas,. —the thickening constant, ville 8 ” (65 cm). × 81 Private collection 8 ∕ 7

If anything, the planes and spatial markers If anything, Pablo Picasso. colline, la sur Maisons × 31 8 5. ∕

5

(Houses on the Hill, Horta de Ebro) 25 La Procession, Sé in La Procession, the abrupt shifting corrugation of the rollicking field, the knifing but precarious, between surface and depth, oblique planes plunging down and in all directions imag- the painting’s as if repeatedly into a black void, ination of a flow of bodies converted into spatiality into a landscape or a world (the inspiration itself, for this painting was always claimed by the painter as an observed religious procession of nuns in their forms intensify black habits)—if Picabia’s anything, the contradictory and carnal effects of Picasso’s even abandoned Cubist work. by then surpassed, The heterogeneity and excessive physical dimension of the language of Cubism at Horta seem to be Fig. residual of even the oldfiguration that seem in excess to split the illusionistic possibilities and thus seem of abstraction discordantly between extremes image verticality and vision and touch, illusionism, and diaphanous flatness and vertiginous horizontality, this is a depth As Krauss puts it, depth. a depth feet, when the ground gives way below one’s of the carnal extension that is a function of touch, body.” of one’s

-

Houses Houses , evinces ville, 5), Picasso 5), flattens

(fig.

) sur la colline, Horta de Ebro ( sur la colline, What might this mean? Rosalind Krauss has In this light, Buffet-Picabia’s insistence that insistence that Buffet-Picabia’s In this light, Whether or not he was intimately familiar the closest formal parallels to Picasso’s works of 1909. works of 1909. the closest formal parallels to Picasso’s the mount- For the painting rhymes especially with wayward of fusion the with forms, mountainlike ing, of a work like Picasso’s trapezoids and arcing ellipses, paral And this formal Horta de Ebro (1909). Reservoir, Horta de Ebro on the Hill, lel seems more like an insistence on Picabia’s part, as lel seems more like an insistence on Picabia’s if he is clinging to a moment in Cubism—a modality of Cubism—that must be turned to task and made his own. Horta de Ebro landscapes claimed that Picasso’s testify to an intense contradiction within Cubism’s - as the artist dedicates himself to the break project, down of painterly illusionism only to find himself torn between the demands of vision and those of the In Maisons body. reference in 1912 to Spain, La to Spain, é S Procession, 1912 reference in form and aligns aspects of the represented space with the dictates of the canvas and the vertical visual field, but he also allows deep canyons of painterly space to yawning pockets of bore into the pictorial structure, Picabia’s 1912 paintings look back, to 1909 and to and to to 1909 paintings look back, 1912 Picabia’s If art history has strikes one as symptomatic. Spain, a biographical and empirical so far been fixed on elements of Picabia’s reading of such discursive history, Buffet-Picabia’s claim cries out instead to Buffet-Picabia’s history, turn For Picabia’s level of form. be unpacked on the to look back to 1909, does seem to Cubism in 1912 an paintings, but on the level of a dialogue between his excessive play with Indeed, exacerbation of forms. array of contradictory the chaotic light and shadow, lozenge-shaped compositions, planes and oblique, landscapelike with bodies continuously twisted into proper finds its closest parallel within Cubism forms, in Horta in the paintings that Pablo Picasso made (or in his in the summer of 1909 Spain, de Ebro, Olivier landscapelike portrait heads of Fernande of that same year). most direct with Picabia’s Horta de Ebro canvases, the

re, re, è sa Press, 2007), 1–29. Press, Press, 2012). Press, , trans. Kenneth Lyons Kenneth Lyons trans. Picabia, s, MIT MIT My title and these thoughts are My title and these thoughts are “The Motivation Krauss, Rosalind E. See William A. Beverley A. Camfield, See William On the split in the origin story On the dialogue between Apollinaire On the dialogue between for Danses à la source [I]La Source and see Camfield, 13), () (pl. state- Apollinaire’s 32. Picabia, Francis ment that the works represent Picabia’s memory of Italy appears in his Les Figui cubistes (Paris: E. Peintres 1913), 71. Buffet-Picabia’s insistence Buffet-Picabia’s 71. 1913), that she and Picabia had not traveled and that the paintings instead to Italy, looked back to time spent in 1909 in can be found in Gabrielle Spain, “Picabia: L’inventeur,” Buffet-Picabia, Michael 33. (June 1956): 18 L’Œil points out that Picabia told a Taylor that he in 1913 York journalist in New “stopping at a country place” recalled “a natural where there was in Italy, spring of crystalline water in a lovely You “Oh, See Henry Tyrell, garden.” Advance Guard of the Post- Art! High York, Impressionists Has Reached New Picabia M. Their Leaders, One of Explains How He Puts His Soul on February 9, , Magazine World Canvas,” reprinted in Maria Lluï 1913; Borrà (New York: Rizzoli, 1985), 106. See See 106. 1985), Rizzoli, York: (New “Francis Picabia: also Michael Taylor, in Inventing Abstraction and Sincerity,” 110–112., Abstraction 7. (Cambridge: Art and Literature of The 8. 4. 5. 6. The see my The and Picabia in 1912, Francis Tail: the Caught by Artwork (Cambridge: Picabia and Dada in Paris The meant to echo, self-consciously, meant to echo, recent book Realism Devin Fore’s The Rehumanization after Modernism: in Picasso and Braque: of the Sign,” Zelevansky Lynn ed. A Symposium, The Museum of Modern York: (New 266. 1992), Art, , Candace Clements, and Arnauld and Candace Clements, Calté, Picabia: Catalogue Francis eds., Pierre, Raisonné, vol. (Brussels: 1, 1898–1914 332–33. 2014), Mercatorfonds,

5

ville ville by Picabia’s 7 —as a scene natural plastic natural plastic , 9) (pl. Tarentelle “ (pl.

) and 12), return to order,” the resurgence “return to order,” 6 —as inspired by a Gabrielle Buffet-Picabia é S La Procession, of Naples (1912), Port la source [I] a series of earlier followed à In the years to come, such references to Italy In the years to come, The Procession, Seville The Procession, and Spain, the Mediterranean and southern Europe, Mediterranean and southern Europe, the and Spain, reaction to would be central to the antimodernist Cubism called the French art. of figuration and classicism in interwar To a large extent, the question of the body and Cubism a large extent, To with the capacities and materials of the medium of with the capacities the entire occasionAnd Picabia ensures that painting. is wedded to a modernist for the painterly scene a story of travel to the narrative of displacement, remembered— Variously sun. the to light, the to south, by Apollinaire emotion experienced near Naples,” or— near Naples,” emotion experienced first wife, witnessed young dancing shepherdess a of honeymoon in Spain, 1909 during the couple’s Danses or Spanish Cubist canvases with distinctly Italian subjects: ( has always been posed as a question of the return of has always been posed as a question of figuration and realism, the lapse back into the body, The body modernist annihilations. after Cubism’s had to breakand figuration are precisely what Cubism early Cubist works remind us But Picabia’s down. these Mediter- long before such developments, that, ranean tropes could provide access to the body for underlining a place for the carnal within the painter, modernist abstrac- indeed, For Picabia, modernism. tion would never represent a negation of figuration The of abstraction and figu- or the bodily. far from conceptions Rather, ration was not the point. of style and closer to the dynamics of modernization early work forces us to ponder how Picabia’s itself, abstraction must be understood as something that through which the a process happens to the body, could also claim: we vice versa, And, body must pass. there is no abstraction within modernism that can no matter the many be uncoupled from the corporeal, misguided fantasies of this possibility. with its evocation of the eponymous southern with its evocation of the eponymous Italian folk dance.

la source [I] à source” of the title) “source” Extremes of light and Extremes of light and (24.1 × 19.1 cm). × 19.1 ” (24.1 4 2 ∕ . 1514. First1514. state. 1

(pl.

× 7 2 ∕ 1

[I]) early thekey 11), spring” or “spring” dancers” in Danses dancers” “ ” painting, in the months follow- painting, pure” ürer. I Melencolia “ Coupled with the dance metaphor, other Coupled with the dance metaphor, Albrecht D 4.

Dances at the Spring ( do become the basis for the formal language of of do become the basis for the formal language Witness Cubism by the summer of 1912. Picabia’s the heads of the dark within a palette gravitating around hybrid of the by this moment, privileging, to Cubism’s flesh tones in pink and yellow and red; tortured, flesh tones in pink and yellow and red; tortured, as opposed and wayward geometries, conflicting, regularized grid: these are now married to a body a body caught up in the imagined to be in motion, rhythms and movements of dance. first major intimations of motion overtake Picabia’s but the spirit of seems Cubist statement, Like a memory of this trope’s nowhere in evidence. harking back at place at the origin of modernism, painting aligns the endless Picabia’s least to Courbet, flow of water (the and both of these with the erotics of the female nude, Fig. Los Angeles County Museum of Art. and Mr. Mrs. Allan C. Balch Collection work in a series that would move Picabia quickly quickly work in a series that would move Picabia - Apollinaire paradoxi or what toward abstraction, cally dubbed ing June of that fateful year. of two. Engraving; sheet: 9

CHAPTER 2 ABSTRACTIONS, 1912– 1914 42 45 GEORGE BAKER THE BODY AFTER CUBISM ) -

) (pl. 20). 20). ) (pl. Poems ( re Negro Song [I] Song (Negro “on the edge of e sans mè gre [I] gre Negro Song [II] Song Negro ( [II] gre gre illustrations that can be seen as illustrations that can be seen as 15 ” aesthetic, an inheritance aesthetic, “musicalist” Then, too, there is Picabia’s insistent there is Picabia’s too, Then, 16 ” as Michelson puts it, as Michelson puts it, ” Chanson nè Poems and Drawings of the Girl Born Without ( ) (: Imprimeries 19 p. réunies,1918), mes et dessins de la fille né and Of course, Picabia eventually made the transi- Of course,

è Francis Picabia. Poèmes et dessins de la fille née 8)

7. of music for the characteristic static effects of of music for the characteristic static effects of

his Po and Drawings by the Girl Born Without a Mother) Without Born the Girl by and Drawings 50), 7 pl. and (fig. painting, as seen in Chanson nè painting, “trembling, animation.” Fig. mère sans Mothera from that attempts to substitute the mobil ity (fig. work and writing, in Picabia’s This musicalist aesthetic, From the would constantly be allegorized as racing. would not stand still. painting for Picabia, beginning, advancing from the representational tion to cinema, movement of his paintings to the literal mobility of The literalness of this move attracted Michelson, film. earlier painterly aesthetic in who reads Picabia’s allegiance to a

cole de cole de (pl.

Danseuse ) 19), “release into (

Udnie [Young Udnie [Young ) 23). pl. (

toile et son é é These include 14 Danseuse ) (pl. 22), and Edtaonisl 22), ) (pl. ricaine; danse) Struggling to emerge from Struggling to emerge from release into motion,” that would that “release into motion,” 13 The experience of the modern The experience of the modern 12 Edtaonisl [Ecclesiastic] (pl. (

) 15), It is this impulse in Picabia’s work, a radical a radical work, It is this impulse in Picabia’s Subsequently, Picabia’s proliferation of machine Picabia’s Subsequently, siastique) temporalization.” Star Dancer on a Trans- (Star Dancer on a toile sur un transatlantique (ecclé occasions of subjective excess;an incessant triggering be portrayed as a perpetual can only motion machine. one that she calls a to Annette Michelson attract a film theorist like from its work, Picabia’s account, By her Picabia. becomes riven by avant-garde moments, earliest as it repeatedly elaborates overwhelming desire, an various strategies of what Michelson comes to call “ within his work as a painter, this impulse toward this impulse toward within his work as a painter, actual thus, temporal extension and, toward duration, can be found in the early Orphic canvases, motion, have their especially all those just discussed that movements source in a repeated celebration of the The impulse can also be found in the of dance. another canvases that memorialize another voyage, travel between Paris and displacement: Picabia’s and the on the ocean liner La Lorraine York New time he spent in the company of the dancer (and film star) Stacia Napierkowska. mechanomorphs,” construct so many or “mechanomorphs,” drawings, mad that solicit a potential as they call for viewers to imagine the movement,” as represented, depicted contraptions not frozen, One thinks and thus in motion. but in operation, his itself, mechanomorphic form as well of Picabia’s the many drawings that illustrate line; for instance, might as well be borrowed from the poet Charles might as well be borrowed of its with all modernity, Baudelairean Baudelaire. subjective avatars—intoxication, oblivion, vertigo, physical pleasure—would distraction, diversion, of Picabia’s tropes, the constant form the world, own modernity. Star Dancer and Her School of Dance danse (Star Dancer and Her School Udnie ( fille amé Jeune é atlantic Liner American Girl; Dance] American Girl;

IVAM ,” (Paris: (Paris: écrits esthé- February 16, 1913; 1913; February 16,

action, 1907–1953” (PhD diss., (PhD diss., 1907–1953” action, Lebel, exh. cat. (Valencia: (Valencia: cat. exh. Lebel, Francis Picabia , Francis See Camfield, book contains The title of Picabia’s Instan- “Painting. Michelson, Francis Picabia, “Fumigations,” Francis Picabia, Art Francis “Picabia, Rebel, Picabia, affinity for Baudelaire Picabia’s Annette “Painting. Michelson, Leah Dickerman reads Picabia’s Leah Dickerman reads Picabia’s and Sincerity,” 110–112. and Sincerity,” Marí, with the collaboration of Jean- Marí, Jacques 14. see the excellent new book by Jennifer in the Avant-Garde The Parisian Wild, (Oakland: 1900–1923 of Cinema, Age 2015), University of California Press, 62–101. 15. 16. 9. “Francis Picabia: Abstraction See Taylor, 10. 12–14; (Autumn 1921): Olivier ed. Écrits, reprinted in Picabia, Revault d’Allonnes and Dominique et posthumes 1921–1953 2, vol. Bouissou, 34. 1978), (Paris: Pierre Belfond, 11. 12. 13. translated into French and reprinted Olivier Revault ed. Écrits, in Picabia, 1913–1920 1, vol. d’Allonnes, Here a series 21. 1975), Pierre Belfond, words are chosen for “Baudelairean” of the original English text (“l’exaltation,” “la ésie de la vitesse”). frén “l’ivresse,” 49–50. Art historians have until recently overlooked the fact that the dancer Napierkowska was a crucial this, For more on early cinema star. ambiguity in the French that is lost While others have trans- in English. lated—and this volume generally translates—the and title as Poems a Without Born of the Girl Drawings by and Drawings I prefer Poems Mother, which a Mother, Without Born the Girl challenges the traditional subject- object and authorial positions that the This project could be seen to set up. alternate and more radical translation Jones, A. was first proposed in Caroline “The Sex of the Machine: Mechano- and Francis Women, New Art, morphic in Neurasthenic Cure,” Picabia’s ed. Art, Producing Picturing Science, and Peter Galison, Jones, A. Caroline Routledge, Slaton (NewAmy E. York: 145–80.1998), Ballet. America. Cinema. taneism. 193. Apollinaire,” Illumination. Here to Teach New Movement,” The New Movement,” Teach Here to , Times New York America. Instantaneism. Cinema. in Apollinaire,” Illumination. Ballet. Picabia: Máquinas y Españolas, Francis Maria Lluïsa Borràs and Bartomeu ed. was pointed out long ago in Michel was pointed out long ago in Michel “391 Picabia et Francis Sanouillet, 1966), vague, Terrain 2 (Paris: Le vol. The dependence of Picabia’s 79. 50, aesthetic on Baudelaire is the subject of extensive analysis in the dissertation “Les of Carole Boulbès, entre révolu- tiques de Francis Picabia, tion et ré 1993). Université Panthéon-Sorbonne, abstract works of 1912 as directly as directly abstract works of 1912 the Cubism of Picasso, “invoking” their but also travestying Picasso with “pulsing paint handling and “crude” “Inventing See Dickerman, eroticism.” attests Taylor Michael 17. Abstraction,” and to a further bodily exacerbation, I borrow and extend his reading of La Source as excremental in its palette. Centre Julio Gonzalez, 1995), 192–95. 1995), Julio Gonzalez, Centre This is 11 10 ). 1924. Gelatin 1924. ). silver print, I paint a picture of an automobile race. I paint a picture of an automobile race. Do you see the cars rushing madly ahead see You in my picture of that race? No! to of objects that, but a mass of color, But if maybe weird. are strange, you, if you are capable of, you are used to, from my picture accepting impressions, of an automobile race you will be able to achieve the same suggestion of wild the excitement of that desire for speed, that the hundred mile an hour rapidity, I can throw colors, driver himself feels. the idea of movement on a canvas that will make you feel and appreciate that. × 17.5 cm). Private collection × 17.5 ” (12.8 8 ∕ Man Francis Ray. Picabia en grande vitesse 7

6.

× 6

Francis Picabia at High Speed Art historians have stressed the seeming Futurist on paint- early proclamations inspiration of Picabia’s but the states of excess evoked in this passage ing, running over anyone—in of course!” Paris, Fig. ( 5 Picabia in 1921, launching his bad jokes but also launching his bad jokes but also Picabia in 1921, a decade. voicing a credo that had been his for almost as racing; Modern painting would be allegorized the embodied it should be perpetually in motion, Here is Picabia in 1913: equivalent of high speed.

in a

9 la source [II] à (pl.

) thespatial 13), (pl.

[II]) anditssister 14), at 130 kilometers an hour without “at 130 I would love to paint like I drive an automobile,” “ Rather than a parody of Picasso and Cubism, Rather than a parody of Picasso and Cubism, Dances at the Spring Dances at the Spring as some scholars have recently read these works, these works, as some scholars have recently read anachronistic return to Horta de Ebro Picabia’s and turn to Picasso seem instead to legitimize this: Cubism only the body disappears in Picabia’s painting. to exacerbate the physical model of his loss of carnality to Cubist and then modernist The painting that has been the trajectory of our crucial narratives of this moment—this for Picabia, logic, And it will be reversed in the lan- will be reversed. and through its means. guage of Cubism, the In another well-known photograph of Picabia, writes Picabia, writes Picabia, ( precisely what Picabia needed to exploit. And when And when needed to exploit. precisely what Picabia disappears from Picabia’s the body as a representation abstraction of the second painting with the sudden Danses subject, version of his Cubist appears at all. Shielded by dark goggles, covered Shielded by dark goggles, appears at all. It is a portrait of the artist as a race-car driver. 6). (fig. artist no longer appears in the studio. In fact, he hardly In fact, artist no longer appears in the studio. markers only intensify, the effects of indiscriminate the effects of indiscriminate markers only intensify, and reach for every corner depth and void mount not as Contours reassert themselves of the canvas. but in the drawn lines or legible figurative forms planes, sheer alignment of the edges of fragmented absent lines with these ghostly patterns and their field. drilling dark holes into the allover visual of such visualAnd the inescapable carnal dimension as the two paint- dynamics comes to be exacerbated, orange, riot of pink, corporeal ings erupt in a fleshy, a bodily stew simultaneously red tones, and pale tan, the inflamed erotic and excremental in implication, of every vividness riven by the more ashen shades and black. gray, conceivable type of brown, dull leather riding coat, he sits behind the wheel of he sits behind the wheel of dull leather riding coat, or at vitesse, most definitely en grande an automobile, as inscribed the photograph great speed, canvas La Source (The Spring

CHAPTER 2 ABSTRACTIONS, 1912– 1914 44 47 GEORGE BAKER THE BODY AFTER CUBISM -

ue

(pl.

) Longinter 16). La Ville de New York aperç York de New Ville In La of New le corps (The City of New travers 24 à ue For this picture takes a New York or city paint- York For this picture takes a New But the whole painterly project of Picabia’s But the whole painterly project of Picabia’s , structure itself comes to be swept le corps, travers flowing”—with of desire. the pulsations preted, too narrowly, as a reference to technology, too narrowly, preted, machine that to the scientific vision of the X-ray pierces the surface of the physical—and which comparing Picabia would then be understood as to the workings of modernist abstraction—the title instead underlines a painterly space that is the opposite of one where underlying structures are suddenly revealed. à away by what seems the force of bodily enervation and erotic pulsion alone. reversing the ing and literally flips it upside down, image—as perhaps— in mechanical reproduction, but also now enacting a physical act of rotation upon or looping, This flipping, the object of painting. like the produces the effect of further abstraction, at this moment in Picabia’s curves that, undulating everywhere begin to overtake prior Cubist frag- art, face a composition literally without We mentation. for an exhibition York Armory Show in New of the seem to be produced 291, gallery, ’s at capacities of watercolor to bear precisely to bring the excess and general direc- on the phenomenological small works And so now project. tion of the artist’s giant paint- the artist’s on paper come to accompany nature-bound history of with the genteel and ings, counterintuitively dedicated to the city watercolor New York and the urban as subjects in works like even that transmute however, They, 18). (pls. 17, red or blushing urban space into a corporeal one, glowing—and pinkly flesh-toned, one might say, even, “ corporeal is to extend and radicalize a theme, or city York up the New Taking Cubism. American sojourn self- the artist already during his reflexively names his project as a phenomenological in the most unexpected and extraordinary one, in the work he called La Ville de way for the period, aperç New York Through the Body Perceived York 22

) zanne from the Cé —its and dizzying With undulating, With undulating, 23 does” to the body, in Picabia’s in Picabia’s to the body, does” “ s formal paradoxes “phenomenological model of Cubist paint- ” , of course exacerbate pre- , physique Culture Picabia seemed extraordinarily self-aware of Picabia seemed extraordinarily self-aware Picabia visited America in early 1913 for the America in early 1913 Picabia visited his phenomenological exacerbation of Cubist paint- his phenomenological exacerbation of Culture (Physical physique ing: a title like Culture does,” what Cubism “does,” Cubism’ hands. naturalistic as the possibilities, excessive sensorial motivations for illusionism come unhinged—convert In other painting. into a bodily bodies of painting a a words, that is now far ing emerges but one model of direct physical perception before the motif. model of direct physical biomorphic planes and passages and interiors like biomorphic planes and passages and interiors arcs with kinesthetic vectors like arms tracing viscera, and vibrant, in space and a stew of tones both ashen Culture full of fleshy pinks and creams and browns, of shares the general formal characteristic physique It confronts us painting. this moment of Picabia’s of juxtaposed with a deeply linear and planar array in which line shapes and disorienting spatial markers, inti- has been uncannily suppressed, however, itself, in the para- mating a leakage or porousness of forms doxical presence of contour and sharp delineation. Coming after this interlude in New Armory Show. the artist was now passing on from the Horta York, de Ebro–type play of abstraction as a paradoxical and deeply physical illusionism in excess; the forms direct embody instead Picabia’s physique of Culture response to the newly reestablished shapes and And they planes of more recent Synthetic Cubism. are an immediate assault on the enforced enclosure of such Cubist work and its constructive building initiated just watercolors, For Picabia’s of form. before cisely the formal leakage of the painting in their inherent bleeding and fluid spread; in fact, medium’s the watercolors that Picabia made around the time (pl. 24) reflexively names not just the health-and- reflexively 24) (pl. eponymous sports-movement of the epoch (and the but also Apollinaire participated), journal in which of painting the bodily or corporeal space of the form that the artist wanted to achieve.

,

re Udnie re 71, no.Art Bulletin 71, 1 (March The I first delivered this essay as a lec- See Linda Dalrymple Henderson, For a full reading of the project of Instan- “Painting. Michelson, “Instantanéisme,” Francis Picabia, propos de “À Francis Picabia, “Francis Picabia: See Michael Taylor, The emergence of almost every Abstraction and Sincerity,” 110. Abstraction and Sincerity,” 23. 23. See Arnauld “‘Culture Pierre, physique’: 24. 17. 17. 18. 19. 20. 21. 22. ture at a Léger conference in the fall organized by the University of 2013 of Pennsylvania and the Philadelphia Art; part of it dates back to Museum of completed my dissertation on Picabia, Subsequent to the drafting of in 2000. Arnauld I was made aware of the essay, early new essay on Picabia’s Pierre’s whose title and concerns abstractions, I see the seem very close to my own. analysis is essays as divergent: Pierre’s more discursive than formal in nature, a kind of new historicist mapping of a series of figures and thinkers crucial to ideas of kinesis and corporeality as they relate to the birth of . “X Rays and the Quest for Invisible Duchamp, Art of Kupka, Reality in the 47, no. Art Journal 4 and the Cubists,” 1988): 323–40;“Francis (Winter and and X-Rays in Radiometers, Picabia, 1913,” Bohn, Willard Also see 114–123. 1989): ‘Mechanical Expression’ “Picabia’s The and the Demise of the Object,” no. 4 (December Art Bulletin 67, 673–77. 1985): the film, see the chapter “Intermission: see the chapter the film, in my The Artwork Dada Cinema,” , 289–337.Tail the Caught by Ballet. America. Cinema. taneism. 194. Apollinaire,” Illumination. 1924; November 21, Comœdia, Écrits, vol.reprinted in Picabia, 2, 159–60. iste,” Ballet Instantané ‘Relâche,’ 1924; November 27, Comoedia, 2, vol. Écrits, reprinted in Picabia, 163–64. from paintings Orphist Picabia’s of one the space of memory as opposed to direct perception—which becomes canvas 1914 self-reflexive in the è ch en souvenir revois Je (I in Memory My Dear Udnie) Again See been widely discussed in 27)—has (pl. and serves to differenti- the literature, phenomenological and ate Picabia’s subjective model from prior endeavors such as that of Cézanne. 116–47. Also see Arnauld Pierre, 116–47. sans aura Picabia: La Peinture Francis 69–112. 2002), (Paris: Gallimard, Mobility and Corporeality in Picabia’s Mobility and Corporeality in Picabia’s in Camfield et al., Abstract Painting,” Picabia: Catalogue Raisonné Francis

- 20 - -

-

ger’s earlier ger’s é content”; it becomes 21 “ la source [I] could be jetti- à zanne, the trope of the zanne, a joy comparable to a beautiful “a joy comparable to desiring” or broadly physical and desiring” “ s own emerges as an aesthetic most power If Danses à la source [I] presents the viewer bodily” across the entire face, the thickened the thickened across the entire face, bodily” “ tubular” mode of Cubism, their bodily intensity their bodily intensity mode of Cubism, tubular” with a recognizable bodily source—with figures, typical progeny of Cé bathers—these up opened for Picabia, were, bodies This is more than a met- by the movements of dance. simple surely more than aphor, a formal procedure of the paintings that Picabia began the tortured geometries and constant, to produce, excessive shifting of figural planes in space and depth an analogue for the mobility of the represented bod movement and kinesthetic effects corporeal The ies. of dance are the motivations that begin the painting the But with this formal analogy in place, series. bodily reference in Danses soned, with the effect being not a more complete with the effect being not a more complete soned, abstraction unmoored from the body but one that one that generalizes and itself unmoors the body, literally spreading effects, denaturalizes the body’s the This is what abstraction painting. of Picabia’s surface, corpse on the loose. By this moment of 1924, Picabia of 1924, By this moment corpse on the loose. the brute physical pleasures, could list the aristocratic would attempt to par in which his work sensations, ticipate: he sought love-making,night of comparable to the volup tuousness lying of in the sun, in your doing of 120 comparablecar, to the pleasure boxing of of or out on the mat of an opium den.” someone stretched To achieve this project, Picabia required an aesthetic Picabia required an aesthetic achieve this project, To would only one of whose avatars of endless motion, be found in film. the Indeed, as Picabia’ corporeal model of film that Michelson identifies corporeal model of film that Michelson transformation fully in the moment of the artist’s sees Picabia’s Taylor Michael While of early Cubism. L Orphic paintings as deeply indebted to “ neglected counter- represents a long overlooked, model for post-Cubist painting.

[I]). 1913. [I]). ” (66.4 cm). × 55.9 4 ∕ 3 19

” Negro Song Negro × 22 8 ∕ 1

’s inherent, inherent, Due to cinema’s 18 ” project of early “cognitive” “distraction. ’s cinema was configured Picabia’s 17 , the film that he produced with acte, , such sensorial intensity is repre- acte, desiring” one. “desiring” In Entr’ Francis Picabia. Chanson nègre[I] ( 8.

The Metropolitan Museum of Art, New York. Alfred Stieglitz 1949 Collection, sented in the film’s notorious point-of-view roller sented in the film’s relation to Entr’ René Clair in 1924. coaster scenes, its car chase footage, its endless cele- its car chase footage, coaster scenes, bration of ballet dancing and leaping and jumping, its narrative motivation in a hilarious chase after a Fig. Watercolor and pencil on board, 26 fundamental mobility, Picabia could only envisage fundamental mobility, the medium as a mode and purveyor of sheer excess. Picabia exclaims, “Cinema should give us vertigo,” a promoter “it should be a sort of artificial paradise, ‘looping the loop’ of intense sensations surpassing the Cinema of airplanes and the pleasures of opium.” should be a source of in absolute contiguity with the aesthetic subjectivity in absolute contiguity with the aesthetic a formal model com- that he had been exploring, pletely opposed to the as Michelson points avant-garde film and dedicated, to a out,

CHAPTER 2 ABSTRACTIONS, 1912– 1914 46 49 GEORGE BAKER THE BODY AFTER CUBISM -

And so here, by 1913, we face the emergence by 1913, And so here, the overwhelming formal evidence of the paintings the overwhelming and spatial dis- The physical movement themselves. works extend to their phenom- orientation of these their almost enological the viewer, interaction with The absorption of the viewer. total engulfment or effects of and dis- paintings produce engagements beyond the tortion through corporeal the mere limits of the pictorial. flat picture plane, Another opposition—between the work and its viewer—comes perhaps to be worked excessively, The high point of this development is undone. which in its massive expanse imagines not Edtaonisl, of vertigo, a depiction but a physical experience and spinning or spiraling and dizziness, and nausea, body as a continuum shared with the movement, of the viewer—a absorbed, spectator immersed, into the physical space of the painting entered and literal scale. through the sheer extensiveness of its This immersive continuum is another—perhaps the most important—of the corporeal effects of the embraced. painterly model that Picabia suddenly model for post- of a quite specific phenomenological abstractiona model of Cubist-derived Cubist painting, This phenom as phenomenological or bodily excess. sign of the abstraction enological excess is the precise of the body given over to processes , of the body for In other words, of unmooring and abstraction. such excess is the very experience of the Picabia, not cancelled but raised corporeal becoming abstract, to a higher power.

- 29 -

extroverted,” always “extroverted,” gathers itself against a space ” of forms at its middle. “cluster” is more Udnie is And we can understand anew the issue of And we can understand This is a crucial development that art history of operation, its illegible legibility—anotherof operation, analog that it accompanies. for the painterly forms and Udnie of this moment. scale in the masterworks ten by ten feet, nearly Edtaonisl are huge paintings, most expansive Cubist surpassing even Picabia’s the works, size, equal in An intentional pair, works. operate through relations of inver seem to however, Camfield long ago pointed out that William sion. and the one of the two canvases seems centripetal centrifugal; other and Edtaonisl is more pushing out against its edges, internal compression and an affair of “introverted,” movement toward a has barely recognized, hardly touched, no matter hardly touched, has barely recognized, phenomenological engagement of Picabia’s work defin phenomenological engagement of Picabia’s itively to surpass the limits of the Cubist easel painting. of intense darkness. Then this opposition comes to of intense darkness. gravitates the lighter canvas, be inverted as Udnie, toward gray toward a condition of the monochrome, the darker scene, while Edtaonisl, and black and white, reds, royal blues, in bold purples, erupts in color, the two paintings and Such inversions between gold. rotation that only add to the forms of flipping and like another mode of formal exac- Picabia deployed, as the two works’ even intensification, erbation, their vectors, oblique planes read simultaneously as effects of recession in space carrying forward the constant reading in this series of forms set in motion. Oppositions structure the two canvases throughout, and but these are oppositions worked in excess, on both sides of a divide opened up by reversal and Miniature forms pepper the canvases, inversion. to throw into relief especially at the center of Udnie, And with this we expanse. the vastness of the work’s abstract sense that the monumental format of Picabia’s painting functions not just to occupy the remaindered space of the salon machine or of history painting— like a throwback to the past—but also to allow the This can be pushed further: Udnie imagines a space Edtaonisl while of light,

(1907), (1907), Demoiselles d’Avignon E. L. T. Mesens, The Cubist Spirit in Mesens, T. L. E. Picabia would continue to inscribe It is interesting to compare Picabia’s The title was first unpacked in Picabia , 60. Francis Camfield, at this moment of modernist painting: at this moment of modernist painting: Picasso’s “phenomenological” the last great painting in the recent French tradition. Gallery, 1947); quoted in Camfield, quoted in Camfield, 1947); Gallery, Picabia, 50. Francis 25. 25. The London (London: cat. exh. , Its Time 26. 27. the most important use of such a format 28. 29. canvases and pictures on all four sides, canvases and pictures on all four sides, now lost, most famously in his work, 68). (pl. Mortes (1920) Natures from Many contemporary painters, Mike Kelley to Martin Kippenberger have returned to to Richard Hawkins, this device of Picabia’s. deployment of the square canvas with “The the painter ’s (master’s Paintings of Francis Picabia” University Institute York New thesis, 109; quoted in 1955), Arts, of Fine Picabia , 61. Francis Camfield,

27

e” in the two in the two e” “ , long ago Edtaonisl, and ricaine; danse) and ” the great theme of the great theme of ” ” but to mirror the erotic ” dance, “ (54 × 64.8 cm). Philadelphia Museum ” 2 ∕ 1

“abstraction, . The siastique). title × 25 4 ∕ 1 The point of such a procedure is not to

—“star” and —“star” 28 We can understand, as well, the strange abstract as well, understand, can We danse Francis Picabia. Watercolor Untitled.1913. and pencil 9.

the reader/viewer circles back, creating a fragmented the reader/viewer circles back, word that imagines both an erotic coupling and an endless circulation or spinning rotation in its mode feeding ground of a negation of orientation itself, feeding ground of a negation of orientation the seedbed of a kind of formal directionlessness, a painting without fixed orientation or ground. a painting without fixed orientation of Art. Gift of Benjamin Bernstein, D. 1978 as present in the initial letter of the title itself, to which as present in the initial letter of the title itself, Edtaonisl (ecclé York sojourn—and then com- first New Picabia’s letter so that each penetrates the other, bining them, by letter. the series, Udnie (the series, fille amé Jeune was produced by subtract- as an anagram, “decoded” étoile ing the final letter from two French words, and titles that descend on the culminating works of titles that descend on the culminating Fig. fused words of Picabia’s title is not so much missing title is not so much fused words of Picabia’s initiate a search for hidden meaning, as if that were initiate a search for hidden meaning, the essence of shattered color disorienting, contagion of Picabia’s planes and their excessive or dizzying recombinatory the final letter Indeed, movement. on paper, 21 -

. Mesens T

. L

. E We know it is a pro- know it is We 25 26 travers le corps was produced by flipping travers à Facing the intense bodily kinesthetics and It was the Belgian Surrealist ue ” format, an antihierarchical shape, and an antihierarchical shape, format, “neutral” a one that is not keyed to the widening landscape- formal or spatial leakage of such works, along with formal or spatial leakage of such works, the devices of directionless motion or physical and literal disorientation employed in their production, we can understand anew the largely square format key paintings at this of the majority of Picabia’s For the square is what could be called moment. the instead, It is, orientation of human perception. cedure that Picabia’s work seems not only to follow work seems not only to follow cedure that Picabia’s pushing this formal antiprinciple but to exacerbate, working on his images from all sides. even further, works Picabia signed one of these 1913 Indeed, as if it were made to rotate 9), on all four sides (fig. in its hanging—and thus in its apperception—in all directions. In its rotation, the work simultaneously envisions a simultaneously envisions a the work In its rotation, spectator—the deploy- next step in Picabia’s metaphor—whoment of the dance finds her sum- that one of a mobile form, mons in the production It is of deep structural instability. depends on a kind a nervous, as if we face a top-heavy array of forms, without a base, almost twitching composition without with and thus also a form orientation or direction, There is some solidity: out constructive plausibility. to flip in only into space, push back hard obliques suddenly projecting forward as perceptual reversal, exacerbates a reversibility that echoes and well as back, The the physical flipping of the entire composition. faces as the viewer result is an extreme disorientation, a visual scene where it is impossible forms, teetering, motion sickness— indeed, and, motion, as if vertigo, a bodily enervation pushed to excess—could be itself. extended to and enacted by the painting orientation, perhaps owing to it having been made in perhaps owing to it orientation, table-bound position—aa horizontal, on paper work sides at once in its production. labored on from all La Ville de New York de New Ville who first suggested that La aperç a composition upside down.

CHAPTER 2 ABSTRACTIONS, 1912– 1914 48 51 PLATES

). 1912. ” (118 × 119.5 cm). 119.5 × ” (118 16 ∕ 1

× 47 Sad Figure 16 ∕ 7

Figure triste ( Collection of the Albright-Knox Art Gallery, Buffalo, New York. Gift of The Seymour H. Knox Foundation,1968 Inc., Pl. 10. Oil on canvas, 46

” (73.6 cm). × 92.1 4 ∕ 1

. 1912. Tarentelle Oil on canvas, 29 × 36 Pl. 9. The Museum of Modern Art, New York. Bequest Mary Sisler

CHAPTER 2 ABSTRACTIONS, 1912– 1914 50 53 PLATES

. 1912. ) The Procession, Seville . Chester Dale Fund and Gift of Barbara C . D La Procession, Séville ( Rothschild Michaels from the Collection of Herbert and Nannette 1997 Rothschild, Pl. 12. Oil on canvas, 48 × 48” (121.9 × 121.9 cm). NationalOil on canvas,121.9 Gallery × 48 of Art, × 48” (121.9 Washington,

Dances at the Spring 1912. [I]). ( ” (120.5 × 120.6 cm). ” (120.5 ×

2 ∕ 1

× 47 16 ∕ 7

Danses à la source[I] Oil on canvas, 47 Pl. 11. Pl. 11. Philadelphia Museum of Art. The Louise and Walter Arensberg 1950 Collection,

CHAPTER 2 ABSTRACTIONS, 1912– 1914 52 55 PLATES

912. . 1

Dances at the Spring [II]) ” × 8’ × 248.9 cm). 2” (251.8 8 ∕ 1

Danses à la source ( [II] Oil on canvas, 8’ 3 The Museum of Modern Art, New York. Eugene and Agnes E. Meyer Collection, given by their family Pl. 14.

” (249.6 × 249.3 cm). × 249.3 ” (249.6 8 ∕ ). 1912. 1

” × 8’ 2 4 ∕ 1

The Spring The La Source ( Pl. 13. The Museum of Modern Art, New York. Eugene and Agnes E. Meyer Collection, given by their family Oil on canvas, 8’ 2

CHAPTER 2 ABSTRACTIONS, 1912– 1914 54 57 PLATES

”

8 ∕ 7

× 21 4 ∕ 3

. 1913. . 1913. ” (55.6 × 75.6 cm). The Art Institute of Chicago. 4 ∕ 3

New York New York

× 29 8

∕ 7

Pl. 17. Pl. 17. Top (75.6 × 55.6 cm). The Art Institute of Chicago. Alfred Stieglitz Collection,1949 Right Alfred Stieglitz Collection,1949 Watercolor and pencil on paper, 29 Pl. 18. Watercolor, gouache, and pencil on paper, on pencil and gouache, Watercolor, 21

). 1913.

” (75 × 55 cm).

8 ∕ 5

× 21 2 ∕ . 1913. ) 1

” (55 cm). Mark × 75 Kelman, New York 2 ∕ 1

La Ville de New aperçue York à travers le corps Danseuse étoile sur un transatlantique un sur étoile Danseuse × 29 8

∕ 5

The City of New Perceived York Through the Body Star Dancer on a Transatlantic Liner Watercolor, gouache, ink, and pencil on paper, ( 21 Daniel FrachonDaniel Top Pl. 15. Pl. 16. ( Left Watercolor and pencil on paper, 29

CHAPTER 2 ABSTRACTIONS, 1912– 1914 56 59 PLATES

” (100.6 cm). × 81.6 8 . 1913. ∕ 1

× 32 8 ∕ 5

Catch as Catch Can Philadelphia Museum of Art. The Louise and Walter Arensberg 1950 Collection, Pl. 21. Oil on canvas, 39

” (55.6 × 65.7 cm). 8 ∕ 7

× 25 8 ∕ 7

[II]). 1913. Negro Song [II]). (

Chanson nègre [II] The Metropolitan Museum of Art, New York. Gift of William 1991 Benenson, Pl. 20. 20. Pl. Watercolor and pencil on board, 21 ” 4 ∕ 3

). 1913. Danseuse étoile et son école de danse Star Dancer andHer School of Dance (55.9 × 75.6 cm). The Metropolitan Museum of Art, New York. Alfred Stieglitz Collection,1949 Watercolor, charcoal, and pencil on paper, 22 × 29 ( Pl. 19. Pl. 19.

CHAPTER 2 ABSTRACTIONS, 1912– 1914 58 61 PLATES ). 1913.

” 4 ∕ 3

” × 9’ 10 4 ∕ 1

Edtaonisl [Ecclesiastic] Armand Bartos,1953

Mrs.

Edtaonisl (ecclésiastique) ( and

Oil and metallic paint on canvas, 9’ 10 (300.4 × 300.7 cm). The Art Institute of Chicago. Gift of Pl. 23. Mr.

). 1913. ” (290 × 300 cm). 8 ∕ 1

” × 9’ 10 16 ∕ 3

Udnie (Jeune fille américaine; danse) Udnie [Young American Girl; Dance] Pl. 22. ( Oil on canvas, 9’ 6 Centre Pompidou, Musée national d’art moderne – Centre de création industrielle, Paris. Purchase of1948 the State,

CHAPTER 2 ABSTRACTIONS, 1912– 1914 60 63 PLATES

” 16 ∕ 9

). 1914. × 25 4 ∕

1 A Horrible Pain Une horrible douleur ( Watercolor, ink, and pencil on paper, 21 Pl. 26. (54 × 65 cm). Collection Lawrence B. Benenson

). c. 1914. ” (64.8 × 54.5 cm). 16 ∕ 7

× 21 2 ∕ 1

Ad libitum – au choix; à la volonté Ad libitum Choice; – Your At Will Watercolor, pencil, and charcoal on paper mounted paper on charcoal and pencil, Watercolor, on board, 25 ( Pl. 25. Collection Timothy Baum, New York

. 1913. ) ” (89.5 × 116.5 cm). 116.5 ” (89.5 × 8 ∕ Physical Culture Physical 7

× 45 4 ∕ 1

Culture physique ( Philadelphia Museum of Art. The Louise and Walter Arensberg 1950 Collection, Oil on canvas, 35 Pl. 24.

CHAPTER 2 ABSTRACTIONS, 1912– 1914 62 65 PLATES

). 1914. 200 cm). ” (196.5 × ” (196.5 4 ∕ 3

Comic Wedlock Comic 6’ 6 × ” 8 ∕ 3

Mariage comique ( Oil on canvas, 5 6’ Pl. 28. The Museum of Modern Art, New York. Eugene and Agnes E. Meyer Collection, given by their family

). 1914.

” (250.2198.8 cm). × 4 ∕ 1

6’ 6 × ” 2 ∕ 1

Je revois en souvenir ma chère Udnie I See Again in Memory My Dear Udnie The Museum of Modern Art, New York. Fund Periodicals Hillman ( Oil on canvas, 8’ 2 Pl. 27. Pl. 27.

CHAPTER 2 ABSTRACTIONS, 1912– 1914 64 341 CHECKLIST OF THE EXHIBITION

-

MA -

; ; o

M

,

) (1914) ; oil, bottom

400. was It La Source $

Danses à la source

Dances at the Spring C’est de moi qu’il ), Saint), Cloud, , “most likely the Dances at the Spring [II], (

Picabia 1912 Picabia 1912 Picabia and [II] ( [I]

, " (249.6 × 249.3 cm) × 249.3 " (249.6 DANSES A LA SOURCE DANSES A LA SOURCE LA SOURCE 8 ⁄

1 " (120.5 × 120.6 cm) × 120.6 " (120.5 2 ⁄ The Spring  ( Picabia 1912 Picabia This Has to Do with Me " × 8' 2" (251.8 × 248.9 cm) × 248.9 (251.8 2" " × 8' " × 8' 2 " × 8' × 47 8 4 ( ⁄ ⁄ ₆ 1 1 New Tribune York 1 ⁄ This painting was purchased from the Danses à la source 7

Danses à la source [I]), Saint Cloud, spring or summer 1912 Oil on canvas 47 Philadelphia Museum Art. of The Louise and Arensberg Walter Collection, 1950 Camfield11 Plate I: 443. Oil, top right: oil, bottom right: Armory Show by a Chicago lawyer named for firstPicabia’s painting to be acquired by an American collector and, according to the first canvasof the ultra-moderns to find a permanent place in America.” Danses à la source [II]), Saint Cloud, spring or summer 1912 Oil on canvas 3 8' The Museum Modern of Art, New York. Eugene andAgnes E. Meyer Collection, given by their family, 1974 CamfieldPlate 14 I: 445. Oil, top right: oil, bottom right: Mariage comique s’agit disappeared from public view in 1917, after Picabia had sent them to New York during I. They War were World redis covered the at property Eugene of and Agnes Ernst Meyer in Mount Kisco, inNew York, 1974—found, as newspapers reported the at time, in the basement, rolled up under bird feeders and a croquet set. The paintings were subsequently gifted to The Museum Modern of Art and restored there. All were exhibited at in 1980—the first time [II] had been seen since its hostile recep tion the at Salon d’Automne 1912. of La Source spring or summer 1912 Oil on canvas 2 8' The Museum Modern of Art, New York. Eugene and Agnes E. Meyer Collection, given by their family, 1974 Camfield13 Plate I: 447. Oil, top right: center:

Tropez Tropez ‑

), [Étival,), ; oil,

Saint ; oil, bottom ( ), Grimaldi),

), Saint), Cloud,

), Saint-Tropez, ), URE TRiSTE

Jura LandscapeJura

Picabia 1911 Picabia Fig ( Picabia 1909 TARENTELLE

Adam and Eve ABSTRACTIONS,

" (118 × 119.5 cm) × 119.5 " (118 (73 × 92 cm) Sad Figure

( Picabia ₆ ( " 1 " (100 × 81 cm) × 81 " (100 ⁄ 4 ⁄ 8  ⁄

1 7 , Paris, January–early June 1912

" (73.6 × 92.1 cm) × 92.1 " (73.6 " (73.7 × 92.1 cm) × 92.1 " (73.7 4 4 ⁄ ⁄ Picabia 1912 Picabia 1 1 1914 Tropez vuTropez de la citadelle Tropez × 47 ‑ – ‑ × 31 × 36 ₆ 8 1 2 4 ⁄ ⁄ ⁄ The scholarship on Picabia cites 7 3 3

Private collectionPrivate CamfieldPlate 8 I: 416. Oil, top center: late January–early March 1909 Oil on canvas 28 Musée de L’Annonciade Collection, Saint Plate 5 Camfield375. I: Oil, top right: Paysage du Jura summer] c. 1909 Oil on canvas × 36 29 University California, of Los Angeles. Hammer Museum. Gift Mr. of Stanley N. Barbee CamfieldPlate 6 I: 401. Adam et Ève and/or Paris, January–April 1911 Oil on canvas 39 Grimaldi, Italy, as a source inspiration of for this painting. The artist visited the town in and January may have begun 1911 work on the painting there. At the end of February, Picabia and Gabrielle Buffet- Picabia moved into an apartment in Paris on avenue Charles-Floquet, where he would have had accessto a studio in which he may have completed the work. CHAPTER 2: Tarentelle Oil on canvas × 36 29 Seen from the Citadel 191 The Museum Modern of Art, New York. Mary Sisler Bequest, 1990 CamfieldPlate 9 438. I: Oil, top right: center: Figure triste Saint spring or summer 1912 Oil on canvas 46 Collection the of Albright-Knox Art Gallery, Buffalo, Gift New York. of The Seymour H. Knox Foundation, Inc., 1968 Camfield I: 10 440.Plate Oil, top center: bottom left:

),

), c.), 1909

Honorat

), [Paris,]), 1906 ‑

), [Cannes,]), Francis Picabia 1907

Picabia 06 Picabia Picabia 1906 Picabia 1906 Picabia

Picabia 1905 Picabia " (217 × 308.6 cm) × 308.6 " (217 Dame, Paris 2 ⁄ ‑  ), [Munot,]), 1906

" (192 × 270 cm) × 270 " (192 BEGINNINGS, " (73.2 × 92.4 cm) × 92.4 " (73.2

4 8 ⁄ ⁄ " (92 × 73 cm)" (92 × 73 " (60 × 49.2 cm)" (60 " (81 × 100 cm) × 100 " (81 4 3 1 ⁄ 8 8 1: ⁄ ⁄ 3

1 Notre Portrait of Mistinguett Pine Effect Trees, of Sunlight at 3 3 ( ( 1 (

Chestnut Effect Trees, of Sunlight, in the Midi, Effect of Sunlight

( 19 " × 10' 1 " × 10' × 36 Honorat [Cannes] Honorat ), [Moret,), spring through early ₆ – ₆ × 28 ‑ 1 × 106 ⁄ × 19 1 × 39 4 ⁄ 5 7 ⁄ 2 8 8 ⁄ ⁄ ⁄ Picabia’s signaturePicabia’s and date line 1 13 7  5

Effect of Sunlight on the Banks of the Loing, Seaport Oil, bottom right: Port de mer dans le Midi, effet de soleil ( c. 1907 Oil on canvas 75 collectionPrivate CamfieldNot 298. I: illustrated KHZ only Untitled Oil on canvas 23 Solomon R. Guggenheim Museum, New York CamfieldPlate 7 365. I: Oil, bottom center: were added in later, wet paint over an already dry, crackled surface. Camfield I places the work to 1909 or late 1908 on stylistic grounds. CHAPTER 190 Effet de soleil sur les bords du Loing, Moret ( Moret autumn] 1905 Oil on canvas 28 Philadelphia Museum Art. of The Gertrude Schemm Binder Collection, 1951 CamfieldPlate 1 201. I: Oil, bottom left: Les Pins, effet de soleil à Saint (Cannes) Saint 1906 January–April Oil on canvas 1 7' collectionPrivate CamfieldPlate 288. 2 I: Oil, bottom right: MoMA only Untitled Oil on canvas 36 Jeff and Mei Sze Greene Collection CamfieldPlate 3 230. I: Oil, bottom right: Les Châtaigniers, effet de soleil, Munot, Nièvre Munot, Nièvre Oil on canvas 31 collectionPrivate CamfieldPlate 4 250. I: - -

;

. Spelling . identified MA o M Lettres à Christine, à Christine, Lettres height precedes width , ed. Marc Dachy (Paris: Marc Dachy (Paris: ed. , s work, all handwritten rectos work, ’ Works listed in the first volume Works Given the important role text plays Francis Picabia: Catalogue Raisonné Francis errors and grammatical mistakes errors and grammatical mistakes original to the inscriptions have been Inscriptions are provided retained. in italics and listed from top left to A slash denotes the bottom right. beginning of a new line within the The medium for each inscription. For tran inscription is also included. scriptions of the letters to Christine see Boumeester, 1945–1951 1988). Éditions Gérard Lebovici, of the catalogue raisonné are indicating “Camfield I: x,” in the form the volume and catalogue number of See the works in that publication. for 362, p. Selected Bibliography, Plate number references full citation. correspond to those in this volume. the curatorial team at In dimensions, Depth is included for precedes depth. works in original frames. in Picabia with the excep inscriptions are noted, tion of extensive text in the illustrated Inscriptions for works prior letters. the first volume are taken from to 1915 of after, and for works completed in 1915 inscriptions have been transcribed by - - - - -

-

- -

and MA o M Mediums and dimensions have by conservators from tion their colleagues at lending institutions. is believed to have revisited the work Places of execution are in question. determined by primary documenta and deduc scholarly consensus, tion, location tion based on the artist’s Further when the work was made. supporting evidence concerning dates and places may be found in the In regard to Picabia’s Chronology. the uncer early Impressionist work, tainty reflected in the brackets enclos ing the place of execution is based upon the opinion of some scholars that the artist may have used postcards to produce these works rather than Research on the orig painting in situ. inal frames that accompany certain have We works is in its early stages. relied on documentation from the Comité Picabia and/or the works’ and the research owners or custodians, of scholar Hélène Leroy. been provided by the owners or custo in some cases aug dians of the works, mented based on firsthand examina- inscriptions on the work, primary inscriptions on the work, scholarly consensus, documentation, These and/or stylistic considerations. are understood as dates of completion. “c.” Approximate dates are preceded by For the sake of simplicity, “circa.” for the spans of the seasons are understood January–March; spring, as: winter, July–September; April–June; summer, A slash October–December. and fall, sep between dates indicates a second, in which Picabia arate period of work,

- -

-

-

Francis Francis , held , Whenever possible, the checklist Whenever possible, The italicized titles are generally CHECKLIST OF THE EXHIBITION order of execution that is commonly accepted for works with the same title. offers more detailed information than the plate captions regarding the date Throughout, and place of execution. brackets are used to indicate uncer Dates are based on Picabia’s tainty. of his works, or else deemed histori of his works, either exhibited or pub cally original, lifetime lished as such in the artist’s The majority of or repeatedly since. the titles are provided first in the orig followed by an English inal French, The English titles are not translation. always literal translations from the French but rather represent how the works are best known in this language. not shown in italics indicate an Titles Roman numerals editorial descriptive. enclosed in brackets indicate the Museum of Modern Art, New York, York, New Art, Museum of Modern 2017. 2016–March 19, November 20, All works are by Picabia and were with exceptions shown at both venues, The eleven noted in specific entries. sections here correspond to the chapters The works in each in this catalogue. section are organized chronologically by date of execution; the order of works made around the same date is based on curatorial choice. those inscribed by Picabia on the front The following checklist records the works shown in the exhibition Round so Our Are Picabia: Our Heads Direction Thoughts Can Change June 3– at the Kunsthaus Zürich, The and at 2016, September 25, NATALIE DUPÊCHER KWARTLER WITH TALIA NATALIE

OUR HEADS ARE ROUND SO OUR THOUGHTS CAN CHANGE DIRECTION FRANCIS PICABIA 340 343 CHECKLIST OF THE EXHIBITION

), ),

;

/

m of Pain

] F. PicabiaF. / s [

; oil,

Keeffe ’

; oil, bottom

Paroxy (

), New York, June– New), York, " (47.9 × 31.6 cm) × 31.6 " (47.9 Machine Without a Name

₆ Picabia ( 1 MACHiNE SANS NOM ⁄ REVERENCE

7

OBJET qui NE FAiT pAS

PAROXYME / DE LA 1915

" (80 × 80 cm) " (99.7 × 99.7 cm) × 99.7 " (99.7 " (121.6 × 65.7 cm) × 65.7 " (121.6 ; ink, bottom right: 2 4 ⁄ Reverence × 12 8

⁄ ⁄ ( 8  1 7 ⁄

7

PiCABiA × 31 × 39 × 25 2 4 8 TEMBRE ⁄ ⁄ , no. 9. Published, no. 9. New York, ⁄ 1 7 p 

SE MoMA only 291 1915 November Edited by , Agnes Ernst Meyer, Alfred Stieglitz, and Printed journal; interior page with illustration by Picabia Letterpress Page: 18 illustratedNot MoMA only Alfred Stieglitz/Georgia O Archive, Collection Yale American of Literature, Beinecke Rare Book and Library Manuscript KHZ only Chancellerie des Universités de Paris – Bibliothèque littéraire Jacques Doucet, Paris Machine sans nom June–DecemberNew York, 1915 Gouache, metallic paint, ink, and pencil on board 47 Carnegie Museum Art. of Gift of G. David Thompson Plate 32 [Ink,] top right: ink, bottom left: Révérence 1915 December Oil and metallic painton board 39 The Baltimore Museum Art. of Bequest of Saidie A. May Plate33 Oil, top center: bottom center: DU TEMPSL’ÉLOgE PASSÉ right: Paroxyme de la douleur SeptemberNew York, 1915 Ink, metallic paint, and pencil on board 31 National Gallery Canada, of Ottawa. Purchased 1982 Plate 37 Ink, top left: DOULEUR DANS LA ViLLE MADRÉpORiqUE

),

Here, This Is Stieglitz ( " (46.7 × 31.8 cm) × 31.8 " (46.7 " (43.8 × 28.9 cm) × 28.9 " (43.8 1922

2 8 ⁄ ⁄ –

 Here Is Haviland 3 (

5 " (65.5 × 47.7 cm) × 47.7 " (65.5 4 ⁄ MECHANOMORPHS 191

3 × 12 × 11

8 4 ⁄ ⁄

3

1

× 18 ₆ × 20" (75.9 × 50.8 cm) × 50.8 (75.9 × 20" ), New York, June New York, 1915 ), 1 ⁄ 8 , no. 4. Published June New York, 1915 , nos. 5–6 (deluxe edition). Published ⁄ 7 Keeffe Archive, Collection Yale of 13

’ CHAPTER 3: AND DADA, AND 291 Edited by Paul Haviland, Agnes Ernst Meyer, Alfred Stieglitz, and Marius de Zayas Printed journal; interior page with illustration by Picabia Letterpress with hand additions of metallic pigment Page: 18 Not illustratedNot MoMA only The Museum Modern of Art Library, 2010 New York, KHZ only Chancellerie des Universités de Paris – Bibliothèque littéraire Jacques Doucet, Paris Haviland Voilà JuneNew York, 1915 Ink, pencil, and cut-and-pastedprinted papers on board 25 Kunsthaus Zürich. Graphische Sammlung Plate 29 Ici, c’est ici Stieglitz Here Ink, gouache, cut-and-pasted printed papers, and pencil onboard 29 The Metropolitan Museum Art, of AlfredNew York. Stieglitz Collection, 1949 Plate 30 MoMA only New York, July–AugustNew York, 1915 Edited by Paul Haviland, Agnes Ernst Meyer, Alfred Stieglitz, and Marius de Zayas Printed journal; illustrations by Picabia Letterpress Page: 17 291 Plate31 MoMA only The Museum Modern of Art Library, Collection 2010; New York, Merrill C. Berman; Alfred Stieglitz/Georgia O American Literature, Beinecke Rare Book and Manuscript Library KHZ only Kunsthaus Zürich. Dada Sammlung ,

),

s Salon s ’

), Paris,), .

, all available meters high,”

Mariage comique

2 ⁄  An Exhibition of

Je revois en souvenir C’est de moi qu’il , ; oil, bottom right: MARiAgE COMiqUE Comic Wedlock JE REVOiS EN SOUVENiR (

" (250.2 × 198.8 cm) × 198.8 " (250.2 " (196.5 × 200 cm) " (196.5 Je revois en souvenir ma chère , and 4 4 ⁄ ⁄

1 3 " × 6' 6 " × 6' 6 . He continued,. He “I believe if could it 2 8 ⁄ were shown in New York 291 at ⁄ C’est de s’agit moi qu’il 3  Mariage comique Marius de Zayas arrived in Paris in May I See Again in Memory My Dear Udnie Eugene andAgnes E. Meyer Collection, given by their family, 1974 Camfield I: 490.Plate28 Oil, bottom right: Picabia / 1914 ma chère Udnie s’agit The exhibition,in January organized 1915. by de Zayas, was titled Recent Paintings—Never Before Exhibited Anywhere—by Francis Picabia Je revois en souvenir machère Udnie ( Paris, June–July 1914 Oil on canvas 2 8' The Museum Modern of Art, New York Hillman Periodicals Fund, 1954 Camfield 27 I: 489.Plate Oil, bottom left: MA CHERE UDNiE Picabia in order to select1914 artworks for a final season exhibitions of Alfred at Stieglitz’s Little Galleries the of Photo-, or in On New JuneYork. de Zayas 30, 291, wrote to Stieglitz to propose an exhibition work. Picabia’s of noted, He “One that I especially care for is 2 believed to be Udnie get into the would it room make 291 at quite an impression to have only three big paintings in it, covering almost the entire three walls from the floor to the ceiling.” Stieglitz accepted the proposal, and de Zayas returned in to New York October with this work, and because the I had outbreak War World of caused the cancellation that of year d’Automne, where Picabia had intended to show them. Mariage comique June–July 1914 Oil on canvas 6' 5 The Museum Modern of Art, New York. -

; oil,

),

étoile

; ), ), Paris,),

ecclésiastique 1913 ; [pencil AU CHOIX;

is made by alternat Tropez 1914 A Horrible Pain t (

S UNE HORRiBLE (“dance”). Although

, Paris, October– Physical Culture Physical ( Ad LibitumAd ; charcoal, bottom

EDTAONISL edtaonisl

CATCH AS CATCH CAN dans[e] " (64.8 × 54.5 cm) × 54.5 " (64.8 " (54 cm) × 65 " (100.6 × 81.6 cm) × 81.6 " (100.6 Picabia ₆ ₆ " (89.5 × 116.5 cm) × 116.5 " (89.5 8

– au choix; à la volonté 1 1 ⁄ 8 ⁄ ⁄ ⁄ 1 7 7 9 Picabia × 21 × 32 × 25 × 45 2 8 4 4 ⁄ ⁄ ⁄ ⁄ The word According to Buffet-Picabia, this 5  1 1

Ad libitum Choice; – Your At Will and/or charcoal,] top left: À LA VOLONTÉ center: Collection Lawrence B. Benenson CamfieldPlate26 I: 483. Ink, bottom right: Collection Timothy Baum, New York 25 CamfieldPlate I: 481. Pencil, top left: Philadelphia Museum Art. of The Louise and Arensberg Walter Collection, 1950 CamfieldPlate 24 471. I: Une horrible douleur theSaint-Tropez, Midi, and/or Paris, January–April 1914 ink,Watercolor, and pencil on paper 21 ink, bottom right: DOULEUR Ad libitum ­­ ( [the Midi, March–April] c. 1914 pencil,Watercolor, and charcoal onpaper mounted on board 25 ing the letters the of French word witnessed in Paris. Culture physique October–December 1913 Oil on canvas 35 (“star”) and not written on the painting, is original to the work: Picabia entered thefull title in the catalogue theof Salon and Guillaumed’Automne 1913, of Apollinaire mentions in it hisreview theof salon—the first time he extensively reviewed Picabia in print. Catch as Catch Can December 1913 Oil on canvas 39 Philadelphia Museum Art. of The Louise and Arensberg Walter Collection, 1950 21 CamfieldPlate 474. I: Oil, top left: bottom center: painting was inspired by a no-holds- barred, “catch as catch can” boxing match that she, Picabia, and Apollinaire

),

),

),

;

;

RE [II]), g

; oil, bottom

; watercolor,

Picabia Picabia 1913 Picabia ecclésiastique

Edtaonisl Edtaonisl ( ( ; oil, bottom left: NEW YORK Negro Song (

(290 × 300 cm) (290

" (300.4 × 300.7 cm)" (300.4 × 300.7 " CHANSON NÈ DANSEUSE ETOiLE / EDTAONISL 4 8 ⁄ UDNiE ⁄ Edtaonisl 3 1

[II] Picabia 1913 Picabia

), Paris,), May–early November 10 " (55.6 × 75.6 cm) × 75.6 " (55.6 " (55.6 × 65.7 cm) × 65.7 " (55.6 ' 4 8 ⁄ ⁄ 3 7 , New York, late, New January– York, " (55.9 × 75.6 cm) × 75.6 " (55.9 4 ⁄ × 9 3 10 " × 9' " Purchase the of 1948 State, Picabia 1913 Picabia 4 ⁄ ₆ 1 1 ⁄

× 25 × 29 3 8 8

Along with ⁄ ⁄ 7 7

6 ' Udnie [Young American Girl; Dance] Star Dancer and Her School of Dance 1913 Oil and metallic painton canvas 10 9' The Art Institute Chicago. of Gift of Mr. and Mrs. Armand Bartos, 1953 Camfield23 Plate 470. I: Oil, top center: right: Chanson nègre lateNew January–early York, March 1913 andWatercolor pencil on board 21 The Metropolitan Museum Art, of GiftNew York. William of Benenson, 1991 CamfieldPlate 20 I: 462. Pencil, top left: watercolor, bottom right: KHZ only Udnie ( Jeune fille américaine; danse) ( Paris, May–early Oil on canvas 9 Centre Pompidou, Musée national d’art moderne – Centre de création industrielle, Paris. Camfield22 Plate I: 467. Oil, top center: 1913 Picabia this painting was entered into the Salon neither paintingd’Automne 1913; of was seen in public again until after II. War World Edtaonisl (ecclésiastique) [Ecclesiastic] New York early March 1913 gouache,Watercolor, and pencil on paper 21 The Art Institute Chicago. of Alfred Stieglitz Collection, 1949 Camfield18 Plate 459. I: top left:Watercolor, watercolor, bottom right: MoMA only Danseuse étoile et son école de danse ( lateNew January–early York, March 1913 charcoal,Watercolor, and pencil on paper × 29 22 The Metropolitan Museum Art, of AlfredNew York. Stieglitz Collection, 1949 Camfield I: 464.19 Plate Pencil, top left: ET SON ÉCOLE DE DANSE bottom right: KHZ only

-

), ; D.C.

),

; ink,

; watercolor,

; watercolor,

The Procession, Seville Procession, The ( Picabia DANSEUSE EToiLE

LA VILLE DE NEW YORK

NEW YORK Picabia 1913 Picabia Picabia 1912 Picabia Picabia 1913 Picabia LA PROCESSiON / SEViLLE

" (75 × 55 cm) × 55 " (75 " (55 × 75 cm) × 75 " (55 " (75.6 × 55.6 cm) × 55.6 " (75.6 8 2 8 ⁄ ⁄ ⁄ 5  7 , New York, late, New January– York,

, New York, late, NewJanuary– York, ) The City of New Perceived York Through ( × 21 × 21 × 29 2 4 8 ⁄ ⁄ ⁄ The inscription travers “à corps” le 3  5

Star Dancer on a Transatlantic Liner 29 The Art Institute Chicago. of Alfred Stieglitz Collection, 1949 17 PlateCamfield 452. I: Ink, top right: bottom right: MoMA only Camfield I: 460.16 Plate Ink, top center: apERÇUE À TRAVERS LE CORPS bottom right: references the French term for X-ray photography. Picabia did not arrive in until a factNew York that early 1913, suggests he knowingly misdated the ing by one year. New York early March 1913 andWatercolor pencil on paper 29 Daniel Frachon Camfield15 Plate I: 465. Pencil, top right: SUR UN TRANSATLANTiqUE bottom right: La Ville de New aperçue York à travers le corps the Body early March 1913 gouache,Watercolor, ink, and pencil on paper 21 Mark Kelman, New York Oil on canvas cm) × 121.9 48 × 48" (121.9 National Gallery Art, of Washington, Chester Dale Fund and Gift Barbara of Rothschild Michaels from the Collection Herbertof and Nannette Rothschild, 1997 Camfield I: 12 Plate 442. Oil, top right: oil, bottom right: KHZ only Danseuse étoile sur un transatlantique ( late January–earlyYork, New March 1913 andWatercolor pencil on paper La Procession, Séville Saint Cloud, spring or summer 1912

OUR HEADS ARE ROUND SO OUR THOUGHTS CAN CHANGE DIRECTION FRANCIS PICABIA 342 345 CHECKLIST OF THE EXHIBITION

; ),

;

Dada VALSE

[ Bruce Fund

; [crayon or FLUX ET

E.

L’EN FAN T ; [crayon or pencil,] SPHÈRE DE LA The Child Carburetor ( Thoughts Without ( David K. ; [crayon or pencil,] top " (27.6 × 18.7 cm) × 18.7 " (27.6 Anthologie Dada Anthologie 8 ; [crayon or pencil,] bottom ⁄ " (18.7 × 12.1 cm) × 12.1 " (18.7 4 3 ⁄

D.C. 3

MÉTHODE CROCODiLE " (126.3 × 101.3 cm) × 101.3 " (126.3 ; [crayon or pencil,] center right: 8 × 7

⁄

7 8 × 4 ⁄ ), manuscript), finishedParis, ]). Published]). Zurich, 1919 May 15, 8

7 ⁄

3 DiSSOLUTION PROLONGATiON DE FRANCiS PiCABiA , nos. 4–5. , nos. 4–5 ( Gift Thomas of G. Klarner × 39 4 ⁄ During stay Picabia’s in Zurich in 3 center: [crayon or pencil,] top right: RÉSOLUTiONS DES REFLUX pencil,] center right: MiGRAiNE DÉTRUIRE LE FUTUR center left: [crayon or pencil,] bottom right: EN JAQUETTE right: MoMA only Pensées sans langage Language April 28, 1919 Paris: Eugène Figuière, 1919 Book; cover illustration by Picabia Letterpress Page: 7 Plate 57 MoMA only National Gallery Art of Library, Washington, KHZ only Kunsthaus Zürich. Dada Sammlung Dada Anthology Edited by Tristan Tzara Printed journal; title page and interior page with illustrations by Picabia Letterpress Page: 10 Plate 52 MoMA only Getty Research Institute, Los Angeles; National Gallery Art, of Washington, D.C. KHZ only Kunsthaus Zürich. Dada Sammlung January Tristan Tzara and Jean 1919, Arp found the artist in his hotel room breaking apart an alarm clock and using the gears as stamps. This experiment, or a version it,of eventually became the cover of Dada L’Enfant carburateurL’Enfant Paris, March–October 1919 Oil, enamel paint, metallic paint, gold leaf, pencil, and crayon on wood 49 Solomon R. Guggenheim Museum, New York Plate 54 Enamel paint, top left: CARBURATEUR

/

/

; /

/

/ /

/ / TR. / /

/

; ink, ; ink,

/ ), RODiN ALiCE LÉGER ; ink,

/ / / Picabia SEURAT Bruce Fund GLEiZES ; ink and / DERAiN DADA H. A R P / DELAUNAY

MATiSSE E. / DE ZAzAS GUiLLAUME G. BUFFETG. / / TU NE PiCABiA BRAQUE

/ / / iNGRES / RENOiR VAR ÈSE

left: / tom left: / , Begnins or PARiS NEW YORK CROTTi

AiGNE " (43.5 × 27.5 cm) × 27.5 " (43.5 ; ink and pencil, bottom center left: David K. Dada Movement Dada ₆

/

( 1 / ⁄ LAURENCiN J. ViL LON PiCASSO 13

KANDiNSKY / ink, top left: / 391 ; D.C. MOUVEMENT ; ink, bot

; ink, ARENSBERG / ; ink, center CEZANNE (58 × 45.7 cm) (58 × 45.7

" (51.1 × 36.2 cm) × 36.2 " (51.1 / 4 " × 10 ⁄

/ JANCO 1 8 ⁄ RiB-DE MARiE :

1 left: ERiCK SATYE

/ / ; ink, bottom left: MAiTRE DE SOi-MÊME × 18 ₆ × 14 , suggests that Picabia made this 1 ⁄ 8 ⁄ The topmost inscription, will “You , no. 8. Published, no. 8. Zurich, February 1919 1 13

The Museum Modern of Art, New York. Purchase, 1937 Plate 51 Ink, top left: top right TZARA Lausanne, November–December 1918 Ink, watercolor, andpencil on paper 22 Collection Natalie of and Léon Seroussi Plate 48 Ink and pencil, top center: MOURRAS PAS TOUT ENTiER pencil, center: iRRiTABLE POÈTE right: takennot die completely,” from Horace’s Odes drawing after the death his of friend Apollinaire The on November 9, 1918. death came as a great shock to Picabia; on November he wrote, 26, “His death still seems impossible to me.” Mouvement Dada late January–April 1919 Ink on paper 20 M. DUCH A M P Guillaume Apollinaire STiEGLiTZ ink, top APOLLiNAiRE BAiLLY MALLARME VOLLARD BRANCOUSY ARCHiPENKO top left: METZiNGER COROT Francis Picabia 1919 391 Edited by Picabia Printed journal; cover by Picabia Letterpress Page: 17 KHZ only Kunsthaus Zürich. Dada Sammlung bottom right: 49 Plate MoMA only National Gallery Art of Library, Washington,

, no.

on

), 1917 1917 ),

1917

PARADE

at the at Cirque

" (37.2 × 27.1 cm) × 27.1 " (37.2 s iconographic sources: Amorous Parade ₆ La Science et la Vie ’ (

1 ⁄ ), manuscript), completed " (24 × 16 cm) × 16 " (24 ₆ 11 1 ⁄ 5 ; crayon, bottom left:

× 10

× 6 8 ⁄ ₆ 5

1 ⁄

7

, no. 7. Published, no. 7. New York, Although Picabia inscribed Hiver. ’ Poems and Drawings of the Girl Born Gstaad, April 1918 5, Lausanne: Imprimeries réunies, 1918 Book Letterpress Page: 9 Plate 50 MoMA only Collection Timothy Baum, New York. The exhibition also included copies, not illustrated in the plates, from theGetty Research Institute, Los Angeles, and the Spencer Collection, New York Public Library, Astor, Lenox, and Tilden Foundations. KHZ only Kunsthaus Zürich. Dada Sammlung 391 August 1917 Edited by Picabia Printed journal; cover by Picabia Letterpress Page: 14 Plate 47 MoMA only Getty Research Institute, Los Angeles KHZ only Chancellerie des Universités de Paris – Bibliothèque littéraire Jacques Doucet, Paris amoureuse Parade Oil, gesso, metallic pigment, ink, gold leaf, pencil, and crayon on board cm) × 73.7 (96.5 × 29" 38 Neumann Family Collection Plate 53 Crayon, bottom center: AMOUREUSE Francis Picabia 1917 MoMA only this canvas, scholar Arnauld Pierre argues for a later date, based on what he believes to be the painting images printed in which was37, published in March 1918. The painting is believed to have been shown and then in November 1918, definitively at the in December1919, Exposition d’art moderne d Poèmes et dessins de la fille née sans mère ( Without Mother a

" (37.2 × 27.1 cm) × 27.1 " (37.2 " (37.2 × 27.1 cm) × 27.1 " (37.2 cm) × 27.1 " (37.2 cm) × 27.1 " (37.2 ₆ ₆ ₆ ₆

1 1 1 1 ⁄ ⁄ ⁄ ⁄ Collection, New York 11 11 11 11

× 10 × 10 × 10 × 10

8 8 8 8 ⁄ ⁄ ⁄ ⁄ 5 5 5 5

5. Published5. June New York, 1917

artist, not illustrated in the plates, , no. Published, no. 6. July New York, 1917 , no. 3. Published, no. 3. Barcelona, , no. 4. Published Barcelona, Paris Plate 44 MoMA only Getty Research Institute, Los Angeles KHZ only Bibliothèque Interuniversitaire de Montpellier. Bibliothèque Universitaire Raimon Llull 391 Edited by Picabia Printed journal; cover by Picabia Letterpress with tipped-in illustration Page: 14 Plate 45 MoMA only Getty Research Institute, Los Angeles KHZ only Kunsthaus Zürich. Dada Sammlung 391 Edited by Picabia Printed journal; cover by Picabia Letterpress Page: 14 Plate 46 MoMA only Getty Research Institute, Los Angeles KHZ only Chancellerie des Universités de Paris – Bibliothèque littéraire Jacques Doucet, 391 March 1917 1, Edited by Picabia Printed journal; cover by Picabia Letterpress Page: 14 Plate 43 MoMA only Getty Research Institute, Los Angeles. The exhibition also includeda copy displaying an interior illustration by the from the Spencer Public Library, Astor, Lenox, and Tilden Foundations. KHZ only Kunsthaus Zürich. Dada Sammlung 391 March 1917 25, Edited by Picabia Printed journal; cover by Picabia Letterpress Page: 14

),

;

;

; ink, center

Picabia Here Is the Girl ; ink, center right: ( ; ink, center left: ), c.), 1916–18

FRANCiS PiCABiA " (37.2 × 27.1 cm) × 27.1 " (37.2 cm) × 27.1 " (37.2 A Mi-VOiX ₆ ₆

1 1 ⁄ ⁄

11 11 VoiLÀ LA FillE NÈE SANS (56 × 45.5 cm) (56 × 45.5 FOUR iN HAND " PORTRAiT DE MARiE " (75 × 50 cm) × 50 " (75 ₆ / ₆ 1 ⁄

1 ⁄ × 10 × 10 15

8 8 11 ⁄ ⁄

5 5

; ink, bottom right: Purchase, 1978 LE FiDÈLE COCO FiDÈLE LE × 17

× 19 ₆ 2 1 ⁄ ⁄ , no. 2. Published, no. 2. Barcelona, , no. 1. Published, no. 1. Barcelona,  

Portrait of . Four in Hand KHZ only Kunsthaus Zürich. Dada Sammlung Centre Pompidou, Musée national d’art moderne – Centre de création industrielle, Paris. Plate 39 Ink, top right: MÈRE 391 January 1917 25, Edited by Picabia Printed journal; cover by Picabia Letterpress Page: 14 Plate 41 MoMA only Getty Research Institute, Los Angeles KHZ only Chancellerie des Universités de Paris – Bibliothèque littéraire Jacques Doucet, Paris 391 February 1917 10, Edited by Picabia Printed journal; cover by Picabia Letterpress Page: 14 Plate 42 MoMA only Getty Research Institute, Los Angeles Portrait de Marie Laurencin. Four in Hand ( Barcelona, July 1916–early March 1917 ink,Watercolor, and pencil on board 22 Centre Pompidou, Musée national d’art moderne – Centre de création industrielle, Paris. Gift Mr. of Juan Alvarez de Toledo, 1990 Plate 40 Ink, top left: LAURENCiN right: A L’OMBRE D’UN BOCHE iL N’EST PAS DONNÉ À TOUT LE MONDE / D’ALLER À BARCELONE pencil, bottom left: ink, bottom right: laVoilà fille née sans mère Born Without Mother a metallicWatercolor, paint, ink, and pencil on board 29

/

Picabia

; ink,

; ink, Picabia

),

Very Rare

( LE FiDÈLE LE

), New York, New), York,

), New York, June– New), York, " (126 × 98 × 5.5 cm), × 98 × 5.5 " (126

RARE TABLEAU ₆

1 ⁄ 3 VOiLÀ LA FEMME

), New York, June– New), York, ; oil, bottom left: Behold the Woman ; ink, bottom center: ( Picabia LA MUSiqUE EST COMME gABRiELLE BUFFET gABRiELLE TRE " (58.5 × 46.8 cm) " (58.5 × 2 ₆ " (73 × 48.7 cm) × 48.7 " (73 ₆ ₆ 1 (122 × 66 cm) (122 ⁄

1 1 ⁄ 7 ⁄ " 9 3

ELLE CORRigE LES MOEURS EN ; ink, bottom right: Gabrielle Buffet, She Corrects Manners × 26 × 18 ( ₆ × 38 ₆ × 19 1 8 1 4 ⁄ ⁄ ⁄ ⁄  5 3 

Music Is Like Painting Plate 38 Ink, top left: LA PEiNTURE The Solomon R. Guggenheim Foundation. Peggy Guggenheim Collection, Venice, 1976 Plate 36 Oil, top left: SUR LA TERRE MoMA only La Musique est comme la peinture ( January–May 1916 gouache,Watercolor, and ink on board 48 collectionPrivate and pencil on board 28 collectionPrivate Plate 35 Ink, top center: bottom right: rare tableauTrès sur la terre Picture on the Earth 1915 December Oil, metallic paint, pencil, and ink on board, with gold and silver leaf on wood, in a wood frame possibly constructed by the artist 49 with frame While Laughing 1915 December Ink, watercolor, and pencil on board 23 Staatsgalerie Stuttgart. Graphische Sammlung Plate 34 Ink, top left: center: RiANT Picabia laVoilà femme June–DecemberNew York, 1915 gouache,Watercolor, metallic paint, Gabrielle Buffet, elle corrige les mœurs en riant

OUR HEADS ARE ROUND SO OUR THOUGHTS CAN CHANGE DIRECTION FRANCIS PICABIA 344 347 CHECKLIST OF THE EXHIBITION

; ;

/ / ; ;

EN ;

/

Co.

/ ; ink,

signe Y.

/ LE chose, c’est / DERMÉE ), BUFFET ŒIL /

FRANCiS / depuis 1892 depuis /

), Paris,), ), Paris,), 1921 PAiLLE ? / Marthe Chenal A chacun son /

/ MACHiNE

The Unique MON DE ( /

; ink, bottom left: ont signé je DADA /

LE LiERRE UNiQUE Céline / Arnauld / VOUS REGARDE /

Paul “Z” final / Straw Hat? ; top left:

( Ecrire quelque

TheCacodylic Eye MARGUERITE ( " (92.3 × 73.5 cm) × 73.5 " (92.3 DANSE DE SAiNT GUY CHAPEAU ...... pour cELui Qui ₆ " (75 × 105 cm) × 105 " (75 1 oil, bottom right: ⁄ ₆ " (148.6 × 117.4 cm) × 117.4 " (148.6 " (104.4 × 84.7 cm) × 84.7 " (104.4 ; J’arrive de la campagne ; enamel paint, bottom right: M 4 1

8 ), Paris, 1920 ⁄ ⁄ ⁄ 15 numbers on its verso, which !

/ DADA ; top right: 1 Je m’appelle 5 3

Picabia Tout le mondeTout DE VERRE ; top left:

TABAC / - / RAT ; top center: Se taire : c’est mieux!! / Purchase, 1988 × 28 eft: / × 46 × 41 × 33 ₆ 2 2 center: 8 1 ⁄ ⁄ ⁄ ⁄ 1   5

St. Vitus’s Dance [Rat Tobacco] Enamel paint, centerleft: enamel paint, center: EUNUQUE FRANCiS Danse de Saint-Guy (Tabac-Rat) ( 1919–20/1946–49 frame,Wood cord, and board with ink 41 Centre Pompidou, Musée national d’art moderne – Centre de création industrielle, Paris. Plate 74 Ink, top left: center: FRANCiS PiCABiA Chapeau de paille ? Oil, string, and printed paper on canvas 36 Centre Pompidou, Musée national d’art moderne – Centre de création industrielle, Paris. Bequest Robert Dr. of Le Masle, 1974 Plate 77 Oil, top left: oil, REGARDE Picabia cacodylateL’Œil Paris, 1921 Oil, enamel paint,gelatin silver prints, postcard, and cut-and-pasted printed canvas on papers 58 Centre Pompidou, Musée national d’art moderne – Centre de création industrielle, Paris. Purchase in honor the of era of Le 1967 Bœuf sur Toit, le Plate 76 [Oil or enamel paint, all inscriptions.] Top l Moreau top right: Milhaud bien!! top center: Metzinger le manque culte! / au tien .. top left: [illeg.]; top right: DEUIL Dadaglobe Tzara is known to have written there in 1920. December Le Lierre unique eunuque Eunuch Ivy Enamel paint and metallic paint on board 29 Kunsthaus Zürich Plate 75

-

; -

/

), ; ink,

1920 Francis

(

; ink, cen

publication,

; ink, center:

), Paris,), c. 1920 LE RATÉ / ; ink, center: ; ink, bottom center: " (49 × 32.2 cm) " (49 × 32.2 " (49 × 32.2 cm) " (49 × 32.2 Dadaglobe ₆ ₆ Rastadada Painting 1 1

⁄ ⁄ (

11 11 TABLEAU RASTADADA

PiCABiA LE LOUSTIC

" (32.4 × 25.3 cm) × 25.3 " (32.4

FRANCiS Francis PicabiaFrancis ₆

× 12 × 12 1 ⁄ / ₆ ₆

1 1 BON NOËL 15 ⁄ ⁄ pasted printed paper on paper " (19 × 17.1 cm) × 17.1 " (19

5 5 CHRiSTMAS 4

‑ ⁄

3 PAPA and

× 10 ‑ 4 × 6 ⁄ , no. 13. Published, no. 13. Paris, July 1920 , no. 14. Published Paris, November Although photomontage was an inte This drawing was intended to be 2 3 ⁄

 ter right: À ARP ET À MAX ERNST gral part Berlin of Dada, was it not in Paris, making this a rare example that of compositional practice in Paris Dada, as well as in the work Picabia. of Francis Picabia par Francis Picabia by Picabia Francis Picabia Ink on paper 12 Musée d’Art moderne de la Ville de Paris Plate 73 Ink, center: ViVE FRANCiS PiCABiA MoMA only top left: included in Tzara’s which was never realized. bears It Tzara’s Plate 71 MoMA only SpencerCollection, Public New York Library, Astor, Lenox, and Tilden Foundations; Getty Research Institute, Los Angeles KHZ only Kunsthaus Zürich. Dada Sammlung rastadadaTableau Paris, November–December 1920 Cut with ink 7 ink, top right: Plate 70 MoMA only Spencer Collection, Public New York Library, Astor, Lenox, and Tilden Foundations KHZ only Kunsthaus Zürich. Dada Sammlung 391 1920 Edited by Picabia Printed journal; cover and interior page with illustrations by Picabia Letterpress Page: 19 The Museum Modern of Art, New York Gift Abby of Aldrich Rockefeller by 2014 exchange, Plate 72 Ink, top center: 391 Edited by Picabia Printed journal; cover by Picabia Letterpress Page: 19

- - -

, illustrated,

Exposition Francis

), Paris,), January–

), no. 1. Published no. 1. ), Francis PicabiaFrancis

Natures mortesNatures was finally published in

" (24.8 × 16 cm) × 16 " (24.8

₆ 1 ⁄

5 " (36.9 × 27.1 cm) × 27.1 " (36.9 Sept manifestes dada

₆ , is no longer extant.

1 " (19.5 × 24.3 cm) × 24.3 " (19.5 ⁄

s work Cannibal ₆

’ 1 11 ⁄ ( × 6 9

4 ⁄

3 at Au at Sans Pareil in April 1920. × 9 × 10 ₆ 2 ⁄ 1 Picabia On May 21, fiveOn days May 21, before Festivalthe ⁄  Cannibale

11 Seven Dada Manifestos 14 Plate 69 MoMA only Spencer Collection, Public New York Library, Astor, Lenox, and Tilden Foundations KHZ only Kunsthaus Zürich. Dada Sammlung Dada event, Étienne Gaveau, the manager theof Salle Gaveau, received the pro spectus and became worried. wrote He to Picabia informing him that the Dadaists could not distribute brochures and litera ture within the venue, a large and presti gious hall typically reserved for classical music, and demanded “written assurance to remain within the bounds conventions, of as is respected and wished by the public that frequents our establishment.” When the book Tzara and1924, Picabia were longer no on friendly terms. seems It likely that this drawing and the one that follows were done theat height Paris of Dada they in 1920; may have been shown the at Picabia Drawing for ( early April 1920 Ink and pencil on paper 7 collectionPrivate Plate 67 Ink, bottom right: Cannibale Paris, April 1920 25, Edited by Picabia Printed journal; interior pages with illustrations by Picabia Letterpress, one page with tipped-in illustration Page: 9 Plate 68 MoMA only SpencerCollection, Public New York Library, Astor, Lenox, and Tilden Foundations; Collection and Jon of Joanne Hendricks KHZ only Kunsthaus Zürich. Dada Sammlung in Prospectus for Festival Dada, Paris, May 1920 26, Letterpress

was

; ink, bottom 1920

/

). Published). Paris, ), Paris,), January–

), Paris,), January– " (27.5 × 21.5 cm) 21.5 × " (27.5 " (27.2 × 19.3 cm) × 19.3 " (27.2 ₆

Francis PicabiaFrancis 8 1 ), no. 4.), Published Paris, ⁄ ⁄ Sept manifestes dada

5 7 Sept manifestes dada Dadaphone

JEUNE FiLLE JEUNE × 7 × 8

" (26.7 × 37.5 cm) 37.5 × " (26.7 ₆ ₆ Young GirlYoung 4 " (16 × 24 cm) × 24 " (16 ⁄

1 1

⁄ ⁄

( ₆ 3 Proverb 1 ⁄ (

13 11 7

" (28 × 22.3 cm) × 22.3 " (28 4 ⁄ 3 FRANCiS PiCABiA

, no. 7 ( × 14 × 9 2 ⁄ ₆ Tzara’s book Tzara’s  1

⁄ 5 Seven Dada Manifestos 6 collectionPrivate Plate 66 Ink, bottom left: originally slated for publication in 1921, and the manifestos in are it all dated but its publication1916–20, was delayed. right: April 1920 Edited by Printed journal; cover illustrations by Picabia Letterpress Page: 10 Plate 63 MoMA only The Museum Modern of Art Library, New York KHZ only Kunsthaus Zürich. Dada Sammlung Drawing for ( early April 1920 Ink and pencil on paper Kunsthaus Zürich. Dada Sammlung Jeune fille March 1920 Ink on paper with circle cut out × 8 11 Bibliothèque Paul Destribats. Courtesy Paris 1900–2000, Galerie Plate 65 Ink, center: Proverbe March 1920 Edited by Tristan Tzara Printed journal; cover by Picabia Letterpress Page: 10 Plate 62 MoMA only Spencer Collection, Public New York Library, Astor, Lenox, and Tilden Foundations KHZ only Kunsthaus Zürich. Dada Sammlung Prospectus for Manifestation Dada, Maison de l’Œuvre, Paris, 1920 March 27, Letterpress 10 Plate 64 MoMA only SpencerCollection, Public New York Library, Astor, Lenox, and Tilden Foundations KHZ only Dada

-

)

[II]),

; ink, auteur , was

’

TheBlessed Virgin " (55.4 × 37.9 cm) × 37.9 " (55.4 La Sainte Vierge ( ₆

1 ⁄

15 s papers in Jacques , no. 12, and elsewhere, no. 12, in ’ LA SAiNTE ViERGE " (18.4 × 13.2 cm) × 13.2 " (18.4 [II] ₆ 1 FRANCiS PiCABiA ⁄ doubled as the program for 3 391

(32 × 23 cm) (32 × 23 × 14

" ₆

₆

1

⁄ 1 × 5 ⁄

13 4  ⁄

s collection theat Bibliothèque

1 ’ même et une préface de Tristan Tzara) ‑ × 9 8 ⁄ , no. 12. Published, no. 12. Paris, March 1920 Another version this of ink-blotch The Matinée du Mouvement Dada was 5

Unique Eunuch [with a Portrait of the Author found in Picabia Doucet littéraire Jacques Doucet in Paris. Kunsthaus Zürich. Dada Sammlung 391 Edited by Picabia Printed journal; cover and interior page with illustrations by Picabia Letterpress Page: 21 Plate 60 MoMA only Collection Timothy Baum, New York; Getty Research Institute, Los Angeles KHZ only Kunsthaus Zürich. Dada Sammlung La Sainte Vierge Paris, 1920 Ink on paper 12 Chancellerie des Universités de Paris – Bibliothèque littéraire Jacques Doucet, Paris Plate 61 Ink, top center: bottom right: MoMA only drawing, also titled published in The version here,1920–21. by contrast, went unpublished the at time and was later held in Paris on February Situated 1920. 5, theat Grand Palais the at same time as the Salon des Indépendants, the event consisted theof readinga series of manifestos. of DadaBulletin the event, which began with man Picabia’s ifesto, read aloud by ten people, and ended with read aloud Tzara’s, by four people and a journalist. Unique eunuque (avec un portrait de l par lui ( by Himself and a Preface by Tristan Tzara] Paris: Au Sans Pareil, February 1920 Book; frontispiece with illustration by Picabia Letterpress Page: 7 Plate 58 MoMA only Collection and Jon of Joanne Hendricks KHZ only

; ; -

-

-

; oil,

,

; oil, ; oil, ; oil, , no. 1, RÉCÈDÉE

; oil, bottom

; oil, bottom

(“my amne ), Paris,), FOLLE

in November m’amenez-y ; oil, bottom ). Published). Watch OutWatch for ( ; oil, center: Proverbe

; oil, top right:

m’amnésie ; oil, top left: M’A M E N EZ-Y ; oil, bottom left: FRANCIS PICABIA PORTRAiT A L’HUiLE DE RATELiER D’ARTiSTE RATELiER LYRiSME , the artist play a allowed for Bring Me There MAiGRE " (91 × 73 cm) × 73 " (91 Bulletin Dada Bulletin PON T-L’ÉV ÊQU E RADOTEUSE Gift Thomas of G. Klarner ( 4 ⁄

PEiNTURE CROCODiLE " (129.2 × 89.8 cm) " (129.2 3 ; oil, bottom left: 8 × 11" (37.8 × 28 cm) × 28 (37.8 × 11"

⁄

8

3 ⁄ 7

La Science et la Vie ), Paris,), c. 1919

D.C. oil, center: PRENEZ GARDE A LA PEiNTURE

; FRANCiS PiCABiA × 28 FORCE INDEPENDANTE , no. 6 ( ₆ × 35 1 ⁄ 4 ⁄ A literal translation of 3 13

KHZ only Kunsthaus Zürich. Dada Sammlung Paris, February 1920 Edited by Tristan Tzara Printed journal; front and back covers by Picabia Letterpress Page: 14 Plate 59 MoMA only Getty Research Institute, Los Angeles; National Gallery Art of Library, Wash- ington, The Museum Modern of Art, New York. Helena Rubinstein Fund, 1968 Plate 56 Oil, top center: RiCiN! center left: bottom left: right: (“The Circular Rat”) in in February 1920. Dada work, might be “bring there for me,” Picabia rearranged the grammatical units the of phrase in the original French. In altering the grammaticallycorrect amenez-y-moi on the French term source The the of centralsia”). image has been identified as a diagram illustrating how to assemble a new type boat of rud Thus,der. the painting’s date range begins with the publication this of dia gram in and ends with publication1919 Picabia’s a relatedof poem, “Le Rat circulaire” M’Amenez-y November 1919–January 1920 Oil and enamel paint on board 50 bottom center: the central inscription and title this of Oil, enamel paint, and metallic paint canvas on 35 Moderna Museet, Stockholm Plate 55 Oil, top left: CELESTE DOMiNO oil, center left: BROUiLLON DiEU BiSCOTTE bottom left: right: center: oil, bottom right: Prenez garde à la peinture Painting

OUR HEADS ARE ROUND SO OUR THOUGHTS CAN CHANGE DIRECTION FRANCIS PICABIA 346 349 CHECKLIST OF THE EXHIBITION

;

‑ ),

Spanish ; pencil, ( ; ink,

),

; ink, bottom

Francis Picabia /

Francis PicabiaFrancis Fuel Pump OPTOPHONE ( ), Paris), orLe Tremblay-

POMPE

POMPE A COMBUSTIBLE Vault Francis PicabiaFrancis ( CHAMBRE-FORTE (90 cm) × 56.5 ), Paris), or Le Tremblay-sur- Francis PicabiaFrancis " (72 × 51 cm) × 51 " (72 " (75 × 56 cm) × 56 " (75 " ₆ ₆ " × (76.2 cm) 56.2 " (72 × 60 cm)" (72 4 ⁄ 1 1 8 8 ⁄ ⁄ ⁄ ⁄ [I], Paris or Le Tremblay-sur- 1

  1 5

Francis PicabiaFrancis Pump ( Purchase, 1999 Purchase, × 22 × 22 × 22 × 23 × 20 ₆ 2 8 8 8 1 ⁄ ⁄ ⁄ ⁄ ⁄ 1  3 3 7

Optophone 1922 March–October Mauldre, Ink, watercolor, and pencil on board 28 Kravis Collection Plate 95 Pencil, bottom left: bottom right: Pompe 1922 March–October Mauldre, Ink, watercolor, gouache, and pencil with strips painted of paper on board 35 Centre Pompidou, Musée national d’art moderne – Centre de création industrielle, Paris. Plate 96 Pencil, top center: center: Pompe à combustible Paris or Le Tremblay-sur-Mauldre, 1922 March–October Pencil, ink, colored ink, and gouache on paper 30 The Museum Modern of Art, New York. Purchased with funds given by Carole Jo and RonaldS. The Lauder, Charles A. Dana Foundation, Mrs. June Larkin, Noble Sheldon Agnes H. Solow, Gund, Maria Gaetana Matisse, and the Committee on Drawings, 1996 Plate 97 Pencil, top left: pencil, bottom right: Chambre forte 1922 March–October sur-Mauldre, gouache,Watercolor, ink, and pencil on paper 29 collectionPrivate Plate 98 Ink, top left: bottom left: Espagnole (Espagnole à la cigarette) Woman [Spanish Woman with Cigarette] Paris or Le Tremblay-sur-Mauldre, 1922 March–October gouache,Watercolor, and pencil on paper 28 collectionPrivate Plate 94 Pencil, bottom right: Barcelone

; ;

), ; pencil, ),

; pencil,

; [pencil,]

; pencil, bottom VERRE

Francis PicabiaFrancis

Francis PicabiaFrancis ), Paris), or Le Tremblay- Hydraulic Press Rotating Panties

(

BiSSEXTiLES ( CULOTTE TOURNANTE CULOTTE CONVERSATiON PRESSE HYDRAULiQUE TiCKETS Francis PicabiaFrancis " (72.3 × 59.5 cm) × 59.5 " (72.3 Francis / Picabia Francis PicabiaFrancis " (75 × 56 cm) × 56 " (75 , [Paris or Le Tremblay-sur- " (59.5 × 72.4 cm) × 72.4 " (59.5 " (72 × 59.5 cm) × 59.5 " (72 ₆ ₆ ), Paris), or Le Tremblay-sur- 2 " (60 × 72 cm) × 72 " (60 ₆ 1 ⁄ ⁄ 1 8 1 ⁄ ⁄ ⁄  7 Leap Years  7 3 (

Francis PicabiaFrancis Glass , Paris or Le Tremblay-sur-Mauldre, ( × 23 × 28 × 22 × 23 × 22" (75.6 × 55.9 cm) × 55.9 (75.6 × 22" × 28 ₆ ₆ 2 8 4 8 1 1 ⁄ ⁄ ⁄ ⁄ ⁄ ⁄ 3  3 7 7 5

bottom left: Conversation 1922 March–October] Mauldre, Ink, watercolor, and pencil on paper 23 collectionPrivate Plate 91 Pencil, top left: pencil, bottom left: Tate. PurchasedTate. 1959 Plate 90 Pencil, top left: Culotte tournante Moderna Museet, Stockholm Plate 89 [Charcoal,] top right: bottom right: Paris or Le Tremblay-sur-Mauldre, 1922 March–October ink,Watercolor, and pencil on paper 28 bottom left: Paris or Le Tremblay-sur-Mauldre, 1922 March–October Ink, watercolor, and pencil on paper 23 pencil, bottom right: Verre 1922 March–October Mauldre, gouache,Watercolor, ink, pencil, and charcoal on paper 28 The Vera andThe Arturo Vera Schwarz Collection Dada of and Surrealist Art in the Israel Museum 86 Plate Pencil, top left: center: MoMA only 1922 March–October sur-Mauldre, Ink, gouache, and pencil on board 29 Alexander S. C. New York Rower, Plate 87 Pencil, top right: Presse hydraulique collectionPrivate Plate 88 Pencil, top left: Tickets 1922 March–October Ink, gouache, and pencil on paper 29 Bissextiles

),

;

; oil,

; pencil, ; pencil,

; pencil, bottom

; ink, bottom

), Paris ), orLe Tremblay-

The Spanish Night

DECAVEUSE ( Sangre Andaluza

AViATiON RÉSONATEUR Francis PicabiaFrancis FRANCiS PiCABiA

AViATiON LA NUiT ESPAGNOLE Francis PicabiaFrancis × 2" (82.6 × 70.5 × 5.1 cm), × 5.1 × 70.5 (82.6 × 2" " (74.9 × 54 cm) × 54 " (74.9 Resonator

" (17 × 11.5 cm) × 11.5 " (17 4 4 ⁄ ⁄ ( " (160 × 130 cm) × 130 " (160 2 ⁄ 3 1 , Paris or Le Tremblay-sur- ₆

 1 ⁄ , c. 1922 , Paris or Le Tremblay-sur-

3 Francis PicabiaFrancis PicabiaFrancis × 4 × 21 × 21" (72.4 × 53.3 cm) × 53.3 (72.4 × 21" × 27

₆ 2 2 2 ⁄ ⁄ ⁄ 1 The top right and bottom left corners ⁄   

11 Pencil, top left: right: MoMA only Aviation Ink, watercolor, and pencil on paper 6 collectionPrivate Plate 85 Ink, top left: right: Résonateur 1922 March–October sur-Mauldre, Ink, gouache, and pencil on board 28 Grey Art Gallery. University New York Art Collection. Gift Frank of Bradley, J. 1958 Plate 84 Pencil, top left: bottom right: La Nuit espagnole Le Tremblay-sur-Mauldre, Spring or Summer 1922 Enamel paint and oil on canvas × 51 63 Museum Ludwig, Cologne. Ludwig Collection Plate 81 Oil, top left: oil, bottom left: bottom right: Décaveuse 1922 March–October Mauldre, Ink, watercolor, and pencil on board, in a frame with nails possibly by Pierre Legrain 32 with frame The Bluff Collection Plate 82 Pencil, top right: bottom left: thisof frame are adorned with nails whose pointed ends protrude into the viewer’s space. This may have been one the of first frames constructed for Picabia by Pierre Legrain, a bookbinder, framemaker, designer, and friend Jacques of Doucet, himself animportant patron Picabia. of Aviation 1922 March–October Mauldre, Ink, watercolor, gouache, and pencil on board 29 Museum Art, of Rhode Island School of Design, Providence. Gift Bayard of Ewing Plate 83

)

-

,

Sept

1924 – 2

), 1902/[1920] 192

LITTÉRATURE

Picabia 1902 Picabia Spanish Woman, ( F. Picabia F. Seven Dada Manifestos

( David K. E. Bruce

" (19.4 × 14.3 cm) × 14.3 " (19.4

in 1921, but its publication in 1921, 8 ⁄

D.C. 5 " (63 × 47 cm) × 47 " (63 " (62 × 44 cm)" (62 2 ₆ ), c.), 1921–25 ⁄

1  ⁄ Spanish Woman Spanish

5 ( × 5

8 ⁄

5 × 18 × 17 ₆

1 ₆ ⁄ 1 ⁄ Picabia dated this watercolor to 1902, Tzara had hoped to publish his 7 13

Private collectionPrivate Plate 93 Pencil, bottom right: was postponed. Three years when later, the book finally emerged, his collaborator, Picabia, had publicly renounced Dada and left the movement behind. CHAPTER 4: DALMAU, Espagnole ink,Watercolor, and pencil on paper 24 Jeff and Mei Sze Greene Collection Plate 92 Pencil, bottom center: a year in which he is known to have trav eled to Seville to visit relatives. Its first public exhibition was not until at 1920, Jacques Povolozky’s Galerie de la Cible in Paris. This is one the of only Espagnoles that can be securely identified from that show. Espagnole, peignebrun Comb Brown andWatercolor pencil on paper 24 AND SALON RIPOLINS, SALON AND Fund; Collection Yale American of Literature, Beinecke Rare Book and Library Manuscript KHZ only Kunsthaus Zürich. Dada Sammlung dadamanifestes had been rejected. The original version seen in the photograph no longer exists; constructed version Picabia second a sometime between and 1946 and 1949, it is this reconstruction that is included in the present exhibition. Tzara Tristan Sept manifestes dada Paris: Budry J. & Co., July 1924 Book Letterpress Page: 7 illustratedNot MoMA only National Gallery Art of Library, Washington,

; / -

Published

), Paris,), J. H US S A R / 1921 ).

/ J’aime Francis , which was exhib

Chapeau de paille ? [illeg.]

The Pinecone The

( 8, no. 2 (Picabia 8, number). and No More Cubism ; bottom right: " (23.5 × 16.8 cm) × 16.8 " (23.5 ( : before its exhibition the at 8

⁄ 5 FRANCiS PiCABiA " (31.9 × 24.3 cm) × 24.3 " (31.9

J’aime au ₆ , Paris, November 1921 1, × 11" (37.8 × 27.9 cm) × 27.9 (37.8 × 11"

1 " (19 × 23 cm) × 23 " (19

⁄ 8 ⁄ × 6 ₆ 9 7

1 4 ⁄ ⁄

1  Guy

‑ × 9 Danse de Saint-Guy ₆ 1 × 9 ⁄ The photograph shows Picabia posing Dada historian Michel Sanouillet 2 9 ⁄

 with the Salonat des Indépendantsited of same1922—the salon from which La joyeuse Veuve Edited by Picabia Printed journal; cover by Picabia Letterpress Page: 14 Collection Merrill C. Berman Plate 79 MoMA only Plus de cubisme [Winter] 1922 Letterpress handbill 7 The Museum Modern of Art Library, New York Plate 80 MoMA only Collection Merrill C. Berman TheLittle Review Published Spring New York, 1922 Edited by Margaret C. Anderson Printed journal; interior page with a photograph of Picabia Letterpress Page: 9 Page 4 MoMA only Collection and Jon of Joanne Hendricks KHZ only Kunsthaus Zürich. Dada Sammlung tom center: Hania Routchine bottom left: has suggested that there are least at four moments when signatures were added to cacodylate L’Œil Salon d’Automne on November 1921; 1, between the closing the of Salon on December and 20 the “Cacodylic Party” on December during 31; that party; and between the party and the entrance work’s into the collection Louis of Moysès, owner Le of Bœuf in sur 1923. Toit, le Funny Letterpress handbill 12 The Museum Modern of Art Library, New York Plate 78 La Pommede pins Saint-Raphaël, February 1922 25,

;

/ ; / / / LE ; ; - ; ; ; /

di Le

; / Je NE

qui

; / LES LES /

/ moi =

MON / Moi, / ; bot

/ / ; center S. JE N’AI HiRE ; center DE GOOD ; center Jean VOILA ; bottom /

Marcelle ; bottom ; bottom / / d’être /

н dit Madge / Roland Le pEtit de Dalvarez / / / Ricords / Peret / ; center: ; center: Georges

у Quigneron Tagliaferro J’aime / ; top left: / ; bottom / / /

/

FRANÇOIS réveiller! / mélancholie

I. Rigaut ; bottom left: Dunoyer de J’Ai tout perduJ’Ai et ш Et je jure chez FATTY d’A s tier ; bottom left: Thomas Salignac / / [illeg.] MAiNE / ; center left: / PiCABiA! ; bottom left: ; center left: ; top right: / ; center: р de / JE ME TROUVE / LA [FLEMME] [illeg.] MiCHEL CORLiN ; bottom center: [illeg.] / ; top left: / ; center right: G. Ribemont Dessaignes Gabrièle Buffet de à Francis Picabia / а 27.4.1921 Cri / AU GRANDAU PiCABiA! IL FAUT MAiS JE C’est difficile / / ; bottom left: / SOLEIL RUSSE SOLEIL / Je voudrais / mettre quelque par / Marie de La —; bottom left: [illeg.] ; center: sans / et / ger Magdalena

J. Povolozky AiME / / A nob A Ш / / RENATA BORGATTi en 6 qu’habilla rrose Sélavy / ; top right: VALENTIN HUGO J. toujours me /

Drummer ViVE AgAgA PANSAERS ; center left: J’aime la salade Francis Paris / G. de Zayas Suzanne [illeg.]; bottom center: ; bottom left:

Comprenez? Couronne / DUCHAMP souRit sergent major / directeur du mauvais movies

/ / / Léo Claretie / Blues / / que je n’aime pasque je n’aime Dada / H. Jourdan-Morhange ; center: ; top left:

je n’ai rien à vousje n’ai dire Parlez / pour moi. / FRANÇiS TRISTAN TZARA / ; bottom left: / / ; bottom right: ; center left: Je l’édite. ; center: J’AiME PiCABiA / DE VADEC Georges Casella ; center left: ; center left: / ; center right: [illeg.] quand on me prend au dépourvu Non, je ne signerai pas! / René Blum ISADORA J’espère / center right: PHARAMOUSSE? tout perdu est gagné Benjamin left: Je suis bête Non, je non teste pas baba Picabia Dorgelès histoires des raconte Nègre peintre SchwartzRaphael Segonzac: COEUR BAT left: center: right: JEAN HUGO bottom center: CROiSSANTS SONT bONS Picabia” “Francis bottom left: Poulenc [CUCHLIN] left: TOUT SON ÂME H. Valensi / RIEN FAIT ET JE SIGNE HUGO TRÈS ALiCE MALANÇON PiCABiA TE SOUViENS TU DE MASSOT bottom center: Haston et Aurie bottom center: CHARCHOUNE right: right: left: GERMAiNE EVERLiNG j’admire Man Ray center: Auric 3 Fratellini prête sur moi-meme top center: top center: Jazz Cocteau LUCK PEUX PAS j’aime / Evrard Lipton MARCEL J. Crotti J. / Dodochose…. Doilac

OUR HEADS ARE ROUND SO OUR THOUGHTS CAN CHANGE DIRECTION FRANCIS PICABIA 348 351 CHECKLIST OF THE EXHIBITION

-

art

’ /

was written

; oil, bottom at the at Théâtre

Entr’acte Francis PicabiaFrancis

Relâche , male figure, (116 × 88.5 cm) × 88.5 (116 " ₆ OPTOPHONE 1 ⁄

13

[II], [Paris or Le Tremblay- s ballet " (24 × 19 cm) × 19 " (24 ’ Relâche 2

⁄

, Paris, December 4, 1924  FRANCiS PiCABiA × 34 ₆ 1 ⁄ × 7 The scenario for Although this painting was not included ₆ 11 1

⁄ 7 in the 1922 Dalmauin the exhibition, 1922 Picabia likely completed between it March and October that of year, alongside stylisti cally compatible works that were shown in Barcelona. Several years the later, artist returned to this canvas and added colorful elements in enamel paint, including the central eye. This was likely done once he had settled in his new house in Mougins, the Château and de Mai, in May 1925, before Marcel Duchamp acquired the painting sale for the Hôtel at Drouot 1926 Paris. in CHAPTER 5: 1924 CINÉ-THEATER-DANCE, Entr’acte Directed by René Clair, with musical score by and scenario by Picabia film35mm (black and white) minutes20 fps 18 at Plate 124 on stationery from the restaurant Maxim’s May inParis andon 2, the film was shot in Luna Park and on the terrace the of Théâtre des Champs-Élysées on June 11, was It first1924. shown on December at 4, the beginning and during the intermission of Picabia Champs-Élysées. des MoMA only The Museum Modern of Art, New York. Acquired from René Clair, 1937 KHZ only Centre Pompidou, Musée national d moderne – Centre de création industrielle, Paris. Group Pathé Distribution, Paris Study for Le Tremblay-sur-Mauldre or Paris, April–October 1924 Ink and pencil on paper 9 Dansmuseet – Museum Rolf de Maré Stockholm Plate 138 [Ink,] bottom right: Optophone 1922 March–October sur-Mauldre,] Mougins, May–December 1925 Oil, enamel paint, and pencil on canvas 45 Musée d’Art moderne de la Ville de Paris Plate 123 Oil, top left: right:

)

[II].

),

Optophone

Volucelle FRANCiS / Sound Meter (

DRESSEUR

Animal Trainer ( FRANCiS PiCABiA

/ " (250 × 200 cm) " (250 " (198.8 × 250.2 cm) × 250.2 " (198.8 4 ⁄ Volumètre 2 ⁄ 3  ; enamel paint, bottom right: × 11" (37.3 × 28 cm) × 28 (37.3 × 11"

× 11" (38.2 × 28 cm) × 28 (38.2 × 11" ₆ 1937 1 ₆

⁄ 1 ⁄

11 [II], Paris or Le Tremblay-sur-

 " × 6' 6 Purchase from a public sale, 1998 " × 8' 2 " × 8' ₆ 4 1 ⁄ ⁄ 1 7 , no. 16. Published, no. 16. Paris, May 1924 , no. 17. Published, no. 17. Paris, June 1924 Picabia wrote to Doucet on January 5, JUiLLET Mauldre, January 1923 Enamel paint on canvas 6' 6 collectionPrivate Plate 119 Enamel paint, bottom left: PiCABiA reflecting1923, on his role in Paristhe salons and noting that he was work at on a very large painting, likely This painting, along with either [I] or [II] and Volucelle Paris or Le Tremblay-sur-Mauldre, January–October 1923 Enamel paint on canvas 2 8' (1922), was shown the at Salon(1922), des Indé- pendants, which opened inFebruary. Dresseur d’animaux Centre Pompidou, Musée national d’art moderne – Centre de création industrielle, Paris. Plate 120 Enamel paint, top left: 391 Edited by Picabia Printed journal; cover pages and interior withillustrations and texts by Picabia Letterpress Page: 15 Getty Research Institute, Los Angeles KHZ only Kunsthaus Zürich. Dada Sammlung 391 Edited by Picabia Printed journal; cover by Picabia Letterpress Page: 14 D’A NiM AU X 5 Plate 121 MoMA only Collection Timothy Baum, New York; Plate 122 MoMA only Collection Timothy Baum, New York KHZ only Kunsthaus Zürich. Dada Sammlung

; -

PiCABiA ; ink, bot

; ink, bottom

; ink, bottom ; ink, bottom

IMPAiR

; ink, bottom left: ; ink, bottom center:

; ink, top center: PAiR ; ink, top center: Littérature Littérature LiTTÉRATURE PAiR

" (31.3 × 24.9 cm) " (31.3 ₆ 1 " (31.5 × 24 cm) × 24 " (31.5 cm) × 24 " (31.4 ⁄ IMPAiR , nouvelle série), 1922–24 , nouvelle série), 1922–24 , nouvelle série), 1922–24 , nouvelle série), 1922–24 , nouvelle série), 1922–24 " (31.7 × 23.8 cm) × 23.8 " (31.7

₆ ₆ " (32.4 × 24.8" (32.4 cm) 8 1 1 4 ⁄ Littérature 13 ⁄ ⁄ ⁄

3 7 7 3 Purchase, thanks 2014, to Sanofi Purchase, thanks 2014, to Sanofi Purchase, thanks 2014, to Sanofi Purchase, thanks 2014, to Sanofi Purchase, thanks 2014, to Sanofi FRANCiS PiCABiA × 9 ; ink, bottom left: × 9 × 9 × 9 LA CHARPENTE CHEZ QUELQUES FRANCiS PiCABiA ₆ × 9 2 8 8 1 4 ⁄ ⁄ ⁄ ⁄ ⁄ 3 5  3 3

12 Centre Pompidou, Musée national d’art moderne – Centre de création industrielle, Paris. Plate 117 Ink, top left: LITTÉRATURE ink, center right: PAiR tom right: MoMA only Untitled (project for the cover of Littérature Ink and pencil on paper 12 Centre Pompidou, Musée national d’art moderne – Centre de création industrielle, Paris. Plate 118 Ink, top right: left: BÂTISSEURS MoMA only Untitled (project for the cover of Littérature Ink and pencil on paper 12 Centre Pompidou, Musée national d’art moderne – Centre de création industrielle, Paris. Plate 114 Ink, top right: left: MoMA only Untitled (project for the cover of Littérature Ink and pencil on paper 12 Centre Pompidou, Musée national d’art moderne – Centre de création industrielle, Paris. Plate 115 Ink, top right: right: MoMA only Untitled (project for the cover of Littérature Ink and pencil on paper 12 Centre Pompidou, Musée national d’art moderne – Centre de création industrielle, Paris. Plate 116 Ink, left: FRANCiS PiCABiA MoMA only Untitled (project for the cover of Littérature Ink and pencil on paper

E

/

R

/

U

/ ; ink,

TU

/ RAt Littérature

/ É ÉRR

/ / tt Littérature / ; ink, center right: TTA Li / LiTTÉRATURE ART FRANCiS PiCABiA LiE " (25.8 × 21.8 cm) × 21.8 " (25.8 " (31.3 × 23.9 cm) × 23.9 " (31.3 ₆ ₆ , nouvelle série), 1922–24 , nouvelle série), 1922–24 , nouvelle série), 1922–24 , nouvelle série), 1922–24 , nouvelle série), 1922–24 " (31.4 × 24.1 cm) × 24.1 " (31.4 " (31.4 × 23.8 cm) × 23.8 " (31.4 1 " (28.9 × 21.3 cm) 21.3 × " (28.9 1 ⁄ ⁄ 2 8 8 ⁄ ⁄ ⁄ 7 9

3  3 ; ink, bottom center: Purchase, thanks 2014, to Sanofi Purchase, thanks 2014, to Sanofi Purchase, thanks 2014, to Sanofi Purchase, thanks 2014, to Sanofi Purchase, thanks 2014, to Sanofi × 9 × 8 × 9 × 9 × 8 ₆ ₆ 8 8 1 1 8 ⁄ ⁄ ⁄ ⁄ ⁄ 5 3 3 3 3

Littérature Ink and pencil on paper 11 Centre Pompidou, Musée national d’art moderne – Centre de création industrielle, Paris. Plate 111 Ink, top left: Untitled (project for the cover of Littérature KHZ only Untitled (project for the cover of KHZ only KHZ only Untitled (project for the cover of Littérature Ink and pencil on paper 12 KHZ only Untitled (project for the cover of Littérature Ink, pencil, and cut-and-pasted paper on paper 12 Picabia KHZ only Ink and pencil on paper 12 Centre Pompidou, Musée national d’art moderne – Centre de création industrielle, Paris. Plate 110 Ink, center right: Plate 113 Ink, bottom center: Centre Pompidou, Musée national d’art moderne – Centre de création industrielle, Paris. Plate 112 Ink, top center: bottom right: Centre Pompidou, Musée national d’art moderne – Centre de création industrielle, Paris. Untitled (project for the cover of Littérature Ink and pencil on paper 10 Centre Pompidou, Musée national d’art moderne – Centre de création industrielle, Paris. Plate 109 Ink, top right:

Université Charles- Université ’ " (22 × 18.1 cm) × 18.1 " (22 " (23.7 × 18.1 cm) × 18.1 " (23.7 8 ⁄ 8 " (23.8 × 18.1 cm) × 18.1 " (23.8 ⁄ 1 8 ⁄ 1 1

× 7 , nouvelle série, nos. 11–12. , nouvelle série, no. 13. , nouvelle série, no. 8. , nouvelle série, no. 9. , nouvelle série, no. 10. × 7 ₆ × 7" (23.2 × 17.8 cm) × 17.8 (23.2 × 7" × 7 × 7" (23.5 × 17.8 cm) × 17.8 (23.5 × 7" ₆ 1

⁄ 8 8

1 4 ⁄ ⁄ ⁄ ⁄ 5 11 3 1 1 Plate 108 KHZ only Chancellerie des Universités de Paris – Bibliothèque littéraire Jacques Doucet, Paris Printed journal; cover by Picabia Letterpress Page: 9 Collection Timothy Baum, New York Plate 106 KHZ only Chancellerie des Universités de Paris – Bibliothèque littéraire Jacques Doucet, Paris Littérature Published Paris, 1923 October 15, Edited by André Breton Printed journal; cover by Picabia Letterpress Page: 8 Collection Timothy Baum, New York Plate 107 KHZ only Bibliothèque Interuniversitaire de Montpellier. Bibliothèque Universitaire Raimon Llull Littérature Published Paris, June 1924 Edited by André Breton Printed journal; cover by Picabia Letterpress Page: 9 Collection Timothy Baum, New York Littérature Published Paris, January 1923 1, Edited by André Breton Printed journal; cover by Picabia Letterpress Page: 9 Collection Timothy Baum, New York Plate 104 Littérature Published Paris, February 1–March 1923 1, Edited by André Breton Printed journal; cover by Picabia Letterpress Page: 9 Collection Timothy Baum, New York Plate 105 KHZ only Bibliothèques de l de-Gaulle – Lille 3 Littérature Published Paris, May 1923 1, Edited by André Breton

, nouvelle

Université Charles- Université Université Charles- Université ’ ’ Littérature " (23.3 × 17.9 cm) × 17.9 " (23.3

₆ 1 " (21.3 × 18.4 cm) × 18.4 " (21.3 " (23.5 × 18.1 cm) × 18.1 " (23.5 ⁄ 8 4 ⁄  ⁄ 1 1

, nouvelle série, no. 7. , nouvelle série, no. 6. , nouvelle série, no. 5. , nouvelle série, no. 4. × 7 × 7" (23.2 × 17.8 cm) × 17.8 (23.2 × 7" × 7 ₆ × 7 " (17.2 × 23.2 cm) × 23.2 " (17.2

, Paris, November 1922

8 8 1

4 8 ⁄ ⁄ ⁄ ⁄ ⁄

1 1 3 3 1 × 9 4 ⁄ 3 Edited by André Breton Printed journal; cover by Picabia Letterpress Page: 9 Collection Timothy Baum, New York Plate 103 KHZ only Kunsthaus Zürich. Dada Sammlung de-Gaulle – Lille 3 Phosphate in insert Printed série, no. 6 Line block print 6 Collection Timothy Baum, New York Plate 102 KHZ only Kunsthaus Zürich. Dada Sammlung Littérature Published Paris, December 1922 1, Page: 9 Collection Timothy Baum, New York Plate 100 Littérature Published Paris, November 1922 1, Edited by André Breton Printed journal; cover by Picabia Letterpress Page: 9 Collection Timothy Baum, New York Plate 101 KHZ only Kunsthaus Zürich. Dada Sammlung; Bibliothèques de l Edited by André Breton Printed journal; cover by Picabia Letterpress Page: 8 Collection Timothy Baum, New York Plate 99 KHZ only Bibliothèques de l de-Gaulle – Lille 3 Littérature Published Paris, October 1922 1, Edited by André Breton Printed journal; cover by Picabia Letterpress Littérature Published Paris, September 1922 1,

OUR HEADS ARE ROUND SO OUR THOUGHTS CAN CHANGE DIRECTION FRANCIS PICABIA 350 353 CHECKLIST OF THE EXHIBITION , ),

-

-

, held at , held at Anonyme,

, FRANCiS

TheNew Republic

Painting[Flowerpot] ( 1925 ), Le), Tremblay-sur- " (119 × 78.7 × 17.5 cm), × 17.5 × 78.7 " (119

8 ⁄ 7

" (65 × 56 cm) × 56 " (65 ₆ 1 ⁄

 × 6" (76.2 × 133.4 × 15.2 cm), × 15.2 × 133.4 × 6" (76.2

2

⁄ Mougins, Feathers  ( – × 22 × 31 × 6 × 31 ₆ 8 1 ⁄ ⁄ This work was included in the 7 9

Peinture(Pot de fleurs) Le Tremblay-sur-Mauldre or Paris, c. 1924–Mougins, 1925 Enamel paint, Ripolin paint-can lids, brushes, wooden stretcher wedges, string, and quill toothpicks on canvas 25 Private collection. Courtesy Galerie Gmurzynska Plate 147 Enamel paint, bottom left: PICABiA Promenade des Anglais (Midi) Le Tremblay-sur-Mauldre or Paris, c. 1924 Oil, enamel paint, feathers, pasta, and leather on canvas, in a snakeskin frame by Pierre Legrain × 52 30 with frame UniversityYale Art Gallery. Gift of Collection Société Anonyme Plate 146 MoMA only International Exhibition of Modern Art Assembled by the Société Anonyme the Brooklyn Museum, November 19, was It 1926–January shown in its 9, 1927. snakeskin frame, which had been shipped from Paris and in likely July 1926, com pleted not long before. In Lewis Mumfordland offered: “Picabia’s scape, with its comically perverse use of macaroni and feathers, does not belong in a museum: might but it be amusing in the window a travel of In 1937, bureau.” Picabia donated to it the Société with Duchamp acting as the intermediary, though the work hadin apparently been the possession group’s since the Brooklyn exhibition more thanprior. a decade Plumes Plumes Mauldreor Paris,1924–Mougins, c. 1925 Oil, enamel paint, feathers, pasta, reeds, sticks, and circular bandages on canvas, in a frame by Pierre Legrain 46 with frame Staatsgalerie Stuttgart Plate 145 KHZ only

- , -

-

New York (Portrait

did not travel to

[II] The Woman with Francis PicabiaFrancis

( ), Le), Tremblay-sur- 1927 Exposition trinationale Francis PicabiaFrancis –

" (106 × 87 × 8.5 cm), × 8.5 × 87 " (106 4 8 ⁄ 3 Cure-dents

COLLAGES AND COLLAGES 192

), held at the held at ), Galerie Durand- [Portrait of a Woman on a Blue Tri-nationalExhibition of Works ), Le), Tremblay-sur-Mauldre Toothpicks × 3 " (92 × 73 cm)" (92 × 73 (

( 4 4 ⁄ in the London or New York ⁄ 3 1

[II] Exposition trinationale d’œuvres likely had this work in mind when dents ‑ × 28 × 34 4 4 ⁄ ⁄ Doucet bought this work before Picabia This collage may have replaced 1 3

Times he wrote, “The strong line Demuth of is much more effective than are all the hair pins, matches and one-franc pieces of Francis Picabia.” CHAPTER 6: in October respec and November 1925, tively. The reviewer for MONSTERS, Cure Mauldre or Paris, c. 1924 Oil, enamel paint, string, straw, and wrapped and unwrapped quill toothpicks on canvas,in a frame with buttons likely by Pierre Legrain 41 with frame Kunsthaus Zürich. Vereinigung Zürcher Kunstfreunde Plate 143 Crayon, bottom right: KHZ only and Everling left Le Tremblay-sur-Mauldre for the south France of in early January Doucet then loaned1925. the collage to the Oil, enamel paint,matches, coins, curlers, and hairpins on canvas 36 collectionPrivate Plate 144 [Ink,] bottom left: Cure-dents presentation the of de peintres et sculpteurs français, anglais et américaines by French, English, and American Painters Sculptors and Ruel in Paris from May through June and organized with the help Marius of de Zayas. This was the first time that CollagesPicabia’s were publicly shown. isIt likely that or Paris, c.1924–Mougins, Summer 1925 the London presentations and New York theof exhibition, owing to Doucet’s con cerns about the fragility. work’s La Femme aux allumettes de femme sur fond bleu) Matches Background]

,

Relâche

, Théâtre des , Théâtre des , Théâtre des

)

was completed in 1924. " (32.7 × 24.8 cm) " (32.7

4 ⁄ 3 Relâche Relâche Relâche

" (12.5 × 17.5 cm) × 17.5 " (12.5 × 9 " (13.5 × 19 cm) × 19 " (13.5 Relâche: instantaneist ballet in 8 " (13.5 × 20 cm) × 20 " (13.5 cm) × 20 " (13.5 8 ⁄ ⁄ Relâche 2 ( 8 8 ⁄ 7 ⁄ ⁄ 7  7 7 × 6

× 7 × 7 × 7 ₆ ₆ ₆ ₆ 1 Although this score for piano was ⁄ 1 1 1 ⁄ ⁄ ⁄ 15 5 5 5 Relâche: ballet instantanéiste en deux actes, un entr’acte cinématographique, et “la queue du chien” two acts, with a film intermission, and “the tail of the dog” Paris: Rouart, Lerolle & Cie., 1926 Printed piano score by Erik Satie with Picabia illustrated by frontispiece Color lithograph Page: 12 The Morgan Library & Museum, JamesNew York. Fuld Music Collection, 2008 Plate 142 published the in original 1926, orchestral score for Picabia and Satie began work in on it April, and Satie wrote to Germaine Everling on August that 27 the ballet composed.” “entirely was Unknown photographer Edith Bonsdorff Von and ten men in tailcoats in 1924 December Paris, Champs-Élysées, Gelatin silver print 4 Dansmuseet – Museum Rolf de Maré Stockholm Plate 128 Unknown photographer Edith Bonsdorff Von and ten men in tailcoats in 1924 December Paris, Champs-Élysées, Gelatin silver print 5 Dansmuseet – Museum Rolf de Maré Stockholm Plate 129 Unknown photographer Edith Bonsdorff Von and nine men undressing in 1924 December Paris, Champs-Élysées, Gelatin silver print 5 Dansmuseet – Museum Rolf de Maré Stockholm Plate 130 Unknown photographer Nine men in bodysuits in Théâtre des Champs-Élysées, Paris, 1924 December Gelatin silver print 5 Dansmuseet – Museum Rolf de Maré Stockholm Plate 131

), grand musicien

; top left: /

391 Relâche

, Théâtre des ; paper support, top

est le plus ; paper support, center

/ ; paper support, bottom Aimez vous mieux les ballets

/ Relâche

" (32 × 50 cm) " (32 × 50 ₆ ; paper support, bottom left: 1 PiCABiA ⁄

" (20 × 13.5 cm) × 13.5 " (20 " (13.5 × 20 cm) × 20 " (13.5 " (15 × 21.5 cm) × 21.5 " (15 11 / ; paper support, center left: ₆ 8

₆ " (17.5 × 23.5 cm) × 23.5 " (17.5 ⁄ 1 4 1 7 ⁄ ⁄ ⁄ 5 1 7 RELACHE , Théâtre des Champs-Élysées, , Théâtre des Champs-Élysées, , Théâtre des Champs-Élysées, Erik Satie BORLiN Pauvresmalheureux / × 19 × 7 8 ⁄ ₆ × 5 × 9 × 8 This photograph and the seven that 5 1 8 8 8

⁄ ⁄ ⁄ ⁄ 7 7 5 7 Untitled design (set for Le Tremblay-sur-Mauldre or Paris, April–November 1924 Ink, watercolor, and pencil on paper 12 Dansmuseet – Museum Rolf de Maré Stockholm Plate 125 Paper support, top left: FRANCiS right: monde du ViVE right: de l’Opéra ? ROLF DE MARÉ right: Unknown photographer Jean Börlin and Edith Bonsdorff Von in Relâche Paris, December 1924 Gelatin silver print 7 Edith Bonsdorff Von and ten men in tailcoats in 1924 December Paris, Champs-Élysées, Gelatin silver print 5 Dansmuseet – Museum Rolf de Maré Stockholm Plate 127 Dansmuseet – Museum Rolf de Maré Stockholm illustratedNot follow are not documentary shots from a live performance; rather, they were publicitystills taken by an unknown photographer. Unknown photographer Jean Börlin and Edith Bonsdorff Von in Relâche Paris, December 1924 Gelatin silver print 6 Dansmuseet – Museum Rolf de Maré Stockholm illustratedNot Unknown photographer Edith Bonsdorff Von and Jean Börlin in Relâche Paris, December 1924 Gelatin silver print 5 Dansmuseet – Museum Rolf de Maré Stockholm Plate 126 Unknown photographer

-

-

, in

Published

Comœdia Comœdia ).

and doubled Portrait Portrait of [issue devoted Portrait de , in (

features many

, Picabia published

on November 27; on November 27; Relâche ; ink, bottom right: : Rolf de Maré, the ; ink, top center: PORTRAiT DE

" (37 × 25 cm) × 25 " (37 ₆ , published in 1 Relâche The Dance ⁄ La Danse 1924

), Paris,), October– Portrait de René Clair ( 13 Le Siècle Relâche

" (31.2 × 20.2 cm) × 20.2 " (31.2 ₆

× 9 1

, in ⁄ ₆ HEBERTOT

1 " (28 × 22 cm) × 22 " (28 ⁄ 15

₆ 9 on November 21; on November 21; 1 ⁄ 11 × 7 ₆ ; ink, top right: Portrait de Rolf de Maré 1 ⁄ This issue of In autumn as part 1924, the of public 5

Picabia himself. The publication was sold theat performances of as the program. show’s lar in style to this one Jacques of Hébertot, director the of Théâtre des Champs- Élysées. These included his d’André-L. Daven on October 31; Comœdia BörlinJean and on December 2. La Danse (numéro consacré aux Ballets Suédois de Rolf de Maré) to Rolf de Maré’s Ballets Suédois] Paris, November–December 1924 Printed journal; interior pages with illustrationsby Picabia Letterpress Page: 14 Dansmuseet – Museum Rolf de Maré Stockholm Plate 137 drawings and texts by Picabia, including the three studies and five untitled portraits listedprior. The portraits represent the individuals primarily responsible for the production of ballet’s director; Jean Börlin, the principal dancer; Erik Satie, the composer; René Clair, the filmmaker; and,of course, Untitled (portrait René of Clair), Le Tremblay-sur-Mauldre or Paris, April–October1924 Ink, gouache, and pencil on paper × 8 11 Dansmuseet – Museum Rolf de Maré Stockholm Plate 135 Portrait de Jacques Hébertot Jacques Hébertot 1924 November Ink on paper 12 Collection David and Marcel Fleiss; Paris 1900–2000, Galerie Plate 141 Ink, top center: 1925 JACQUES FRANCiS PiCABiA ity campaign for a number diagrammatic of portraits simi

;

Francis PicabiaFrancis ; ink, bottom left: ; ink, bottom left:

), Le), Tremblay-sur-

Francis PicabiaFrancis Francis PicabiaFrancis Francis PicabiaFrancis ROLF DE MARE , Jean Börlin, , female figure,

Relâche BORLiN BORLiN " (23 × 14.5 cm) 14.5 × " (23 " (34 × 27 cm) " (34 × 27

₆ 8 ⁄ " (26 × 20 cm) × 20 " (26 1 ⁄ 5 8 Relâche Relâche

" (19 × 15 cm) × 15 " (19

⁄

" (22.5 × 15 cm) × 15 " (22.5 8 7 8 11 ⁄ " (30.5 × 23.5 cm) × 23.5 " (30.5 ⁄ 7 4 7 ⁄ 1 × 10 × 7 × 5 8 4 × 5 ₆ ⁄ ⁄ × 5 2 1 1 3 8 ⁄ ⁄

⁄ 7   Ink and pencil on paper 8 Dansmuseet – Museum Rolf de Maré Stockholm Plate 133 Ink, bottom right: Untitled (self-portrait), Le Tremblay-sur- Mauldre or Paris, April–October 1924 Ink and pencil on paper 10 Dansmuseet – Museum Rolf de Maré Stockholm Plate 136 [Pencil,] bottom right: Untitled (portrait Jean of Börlin with two studies for Mauldre or Paris, April–October 1924 Pencil and ink on paper 13 Dansmuseet – Museum Rolf de Maré Stockholm Plate 132 Ink, top right: PicabiaFrancis Untitled (portrait Erik of Satie), Le Tremblay-sur-Mauldre or Paris, April–October 1924 Plate 140 Ink, top right: PicabiaFrancis Untitled (portrait Rolf of de Maré), Le Tremblay-sur-Mauldre or Paris, April–October 1924 Pencil on paper 9 × 12 Dansmuseet – Museum Rolf de Maré Stockholm Plate 134 Pencil, top right: pencil, bottom left: April–October1924 Ink and pencil on paper 7 Dansmuseet – Museum Rolf de Maré Stockholm Plate 139 Ink, bottom right: Study for Le Tremblay-sur-Mauldre or Paris, April–October 1924 Ink and pencil on paper 9 Dansmuseet – Museum Rolf de Maré Stockholm Study for Le Tremblay-sur-Mauldre or Paris,

OUR HEADS ARE ROUND SO OUR THOUGHTS CAN CHANGE DIRECTION FRANCIS PICABIA 352 355 CHECKLIST OF THE EXHIBITION

- ),

), ; oil,

Portrait d’un ; oil, bottom right: Portrait of a Doctor ( , the artist repainted

), Mougins,), January– 1935 PicabiaFrancis Francis Picabia 1935

1925 " (116 × 89 cm) " (116

₆ " (92 × 72.8 cm) " (92 × 72.8 ₆ 1 " (116.5 × 89 cm) " (116.5 ⁄ 1 ₆ ⁄  Spring 1 ⁄ 11 ( 

was a half-length, relatively realis Purchase by the State,1937 × 35 ₆ × 28 × 35 1 ⁄ 4 8 ⁄ ⁄ This painting is a prime example of 1 7 11

Man and Woman at the Seashore July 1935 Oil on canvas 45 Centre Pompidou, Musée national d’art moderne – Centre de création industrielle, Paris. Plate 173 Oil, bottom left: PicabiaFrancis Portrait d’un docteur Mougins, January–July 1935/Golfe-Juan or Paris, c. 1938 Oil on canvas 36 PurchasedTate. with assistance from the Friends Gallery, the of Tate 1990 Plate 175 Oil, bottom left: bottom right: willingnessPicabia’s to radically alter his own work. In its first state, docteur tic portrait a man of (identified as the artist’s friend Raulot-Lapoint)Dr. dressed in a white shirt and pointing a skull. at A photograph from the summer 1935 of suggests that Picabia worked the at on it Château de Mai in Mougins, which the artist sold in August that of year. The painting may have been exhibited Theat Arts Club Chicago of in early 1936, as were many theof last paintings Picabia produced the at Château de Mai. When the Chicago paintings returned, Picabia destroyed or reworked many them. of Of Portrait d’un docteur the background, skull, and face black, and covered the composition with schematic phalli and hornlike protuberances. is It not known when these changes were made, but the reworking has been placed to on stylistic circa 1938 grounds. Early photographs indicate that the erroneous was also a mischievousdate “1925” of addition. later Homme et femme au bord de la mer ( Mougins, January–July 1935 Oil on canvas 45 collectionPrivate Plate 172 Oil, bottom left: Printemps

),

Salomé

Volucelle

; oil, bottom ; oil, bottom left: 1938 – ; oil, bottom right: 1934 4 . Portrait of the Artist (

193

Aello MÉLiBÉE " (195.5 × 130 cm) × 130 " (195.5 " (116 × 82 cm) × 82 " (116

ECLECTICISM AND " (169 × 169 cm) 169 × " (169 AELLO ₆ ₆

₆

1 1 ⁄ ⁄ 1 ⁄ 3 5 9

, Mougins, January–early instead.) Francis PicabiaFrancis × 51 × 32 × 66 ₆ ₆ , Mougins, mid-March–early ₆ 1 1 ⁄ ⁄ 1 ⁄ In June 1930, PicabiaIn June wrote 1930, to his This painting was originally a portrait On March 15, 1930, Picabia wroteOn 1930, March to 15, 9 15 11

Golfe-Juan, Paris, and/or Mougins, 1934 Oil on wood 45 friend and gallerist Léonce Rosenberg that he would send him the large “as propaganda”: the artist insisted that shouldit hang in Rosenberg’s gallery during the summer season and that he would not part with for it less than 20,000 francs. (Rosenberg replied that Picabia should send a photograph of Salomé ICONOCLASM, Portrait de l’artiste collectionPrivate Plate 169 Oil, bottom center: right: Picabiaof painted by the German artist Bruno Eggert Eggert in 1934. offered the painting to Picabia that same year, and Picabia repainted it, adding dark glasses, two figures, the edgeof a frame, his own signature, and the date. Mélibée August 1930 Oil on canvas 76 PicabiaFrancis Aello August 1930 Oil on canvas 66 collectionPrivate Plate 167 Oil, top left: PicabiaFrancis Rosenberg that he had just sold CHAPTER 8: Marianne and Pierre Nahon; Galerie Beaubourg, Paris Plate 168 Oil, top right: [II], which had hung in his dining room theat Château de Mai, to Jean Van Heeckeren. “[I]n the next couple days, I’ll start a decoration to replace he it,” wrote, in anticipation the of work that would become

; [pencil,]

the three works

; pencil, bottom ; pencil, bottom

; oil, bottom right:

; oil, bottom center:

iNO . Writing in her journal " (81 × 67 × 5 cm), " (81

ATRATA ₆

1 ⁄ MiNOS Ino 15 Francis PicabiaFrancis

SALOMÉ JUDITH " (195 × 130 cm) × 130 " (195 " (195 × 130 cm) × 130 " (195 ₆ ₆ " (147 × 92 cm) × 92 " (147 × 1 Francis Picabia: ans Trente de 1 1

" (149.9 × 96 cm) " (149.9 4 ⁄ ⁄ 8 ⁄ ⁄ ₆ 3 3 1 3

1

Francis Picabia: Thirty of Years ⁄ ), which), opened Galerie at Léonce ( Francis PicabiaFrancis 13 , Mougins, January–June 1930 Francis PicabiaFrancis , Mougins,[May–October] 1929 , Mougins,[May–October] 1929 , Mougins, [May–October] 1929 × 51 × 51 × 36 × 26 4 4 8 ⁄ ⁄ 8 ⁄ Although closely related, this work is This painting was first shownat the ⁄ , Mougins, 1929–30 3 3 7 7

mirrored tinted glass frame by Rose Adler 31 with frame Private collection.Courtesy Galerie Paris 1900–2000, Plate 165 Pencil, top center: center: KHZ only not a study for the larger painting the of same title. Rose Adler designed the frame for this smaller Adleron August noted: 1930, “Picabia 7, has stretched man to his mysterious limits and rendered them apparent.” Salomé Oil on canvas 76 Collection Broere Charitable Foundation Plate 166 Oil, top left: PicabiaFrancis Judith Oil on canvas 76 collectionPrivate Plate 161 Oil, top left: PicabiaFrancis Atrata Oil and pencil on wood 57 Private collection. Courtesy Galerie Paris 1900–2000, Plate 164 [Pencil,] top left: bottom right: Minos Oil, watercolor, and pencil on wood × 37 59 Private collection. CourtesySperone Westwater, New York Plate 163 Pencil, top left: right: MoMA only exhibition peinture Painting Rosenberg in Paris on December 9, 1930. isIt curious that Picabia waited until late to exhibit1930 this canvas; despite this later showing, is it often understood to be part the of same series as listed prior. Ino andWatercolor pencil on paper, in a

), - ]),

Francis Jeune

Mystical Lamb

Espagnole et

( Francis PicabiaFrancis ; oil, bottom center: ), Mougins,), Young GirlYoung in Paradise was, too. Shared sty Barcelone Francis PicabiaFrancis ( " (88.2 × 118 × 6 cm), × 118 " (88.2

8 ⁄ 3 (131 × 163 cm) × 163 (131 ; pencil, bottom right:

" (65 × 50 cm) × 50 " (65 " SPHiNX ₆ " (86.5 × 75 cm) × 75 " (86.5 " (105 × 75 cm) × 75 " (105 ₆ × 2 1 ⁄ 2 2 1 ₆ ⁄ ⁄ ⁄

1   3 ⁄ 11

7 The Shadow The Espagnole et agneau de l’apocalypse

(

(

), Mougins,), 1927 , Mougins, May–October 1929

Purchase, by the State the at 1933, × 29 × 29 × 64 × 19 ₆ × 46 ₆ ₆ ₆ 1 1 4 1 1 ⁄ ⁄ ⁄ ⁄ ⁄  3 5 9 9

Spanish Woman and Lamb of the Apocalypse Galerie Briant; is it likely that the untitled work often referred to as agneau de l’apocalypse listic features suggest that all three began as Espagnoles and werelater reworked Transparencies. into Jeune fille au paradis Paris. Musée du Jeu de Paume 1933 on October 15, Plate 162 Oil, top left: PicabiaFrancis Centre Pompidou, Musée national d’art moderne – Centre de création industrielle, Mougins, [January] 1928 1927/Summer andWatercolor pencil on paper 34 Private collection, London Plate 158 Pencil, bottom left: fille Paradisau Plate 156 Pencil and ink, bottom center: Picabia Agneau mystique et baiser and Kiss Gouache, crayon, and pencil on paper, in a frame possibly by Rose Adler 34 with frame Courtesy collection. Private & Hauser Wirth Plate 159 Pencil, bottom left: L’Ombre January–September 1928 Gouache, ink, pencil, and cellophane on board 41 collectionPrivate Plate 160 Pencil, bottom right: KHZ only Sphinx Oil on canvas 51 Francis PicabiaFrancis Untitled [ Mougins, [January] 1928 1927/Summer gouache,Watercolor, ink, and pencil on paper 25 collectionPrivate

, ), - - .

exhi

Bête jaune Bête ), Mougins,),

FRANCiS

FRANCiS

La

Les Grâces Trois Exposition Francis were shown at Woman with Monocle with Woman Francis PicabiaFrancis and ( Mardi Gras (Le Baiser) Francis PicabiaFrancis " (112.5 × 82.5 × 7.5 cm), × 7.5 × 82.5 " (112.5 ₆ ), Mougins,), 1

⁄

" (110.5 × 92 × 8 cm), × 92 " (110.5 8 15 ⁄

1 TheYellow Beast TRANSPARENCIES,

" (64 × 49 cm) " (64 (

La Femme aux gants roses " (105 × 75 cm) × 75 " (105 × 2 ₆ 2 2 × 3 1 ⁄ , ⁄ ⁄

), Mougins,), c. May 1925–27 4  ⁄ 5  The Kiss

1 (

at Cercle at Nautique in Cannes in Idyll 1930 ( – Galleria Civica d’Arte Moderna × 29 × 32 × 19 – × 36 ₆ ₆ ₆ Jeune fille au paradis 1 1 2 1 ⁄ ⁄ ⁄ ⁄ This painting may have been shown 5 5 3 

Picabia ThatJanuary show is known 1927. to have included Espagnoles, some which of Picabia reworked as Transparencies and later displayed the at bition Galerie at Th. Briant in Paris, October–November 1928. and 43 with frame GAM e Contemporanea, Torino Plate 152 Enamel paint, bottom right: PiCABiA Idylle Oil and enamel paint on wood, in a goat skin frame by Pierre Legrain 44 with frame Musée de Grenoble. Gift Jacques of Doucet, 1931 Plate 153 CHAPTER 7: 1927 La Bête jaune January 1927/Summer 1928 Ink, watercolor, and pencil on board 25 Private collection.Courtesy Galerie Paris 1900–2000, Plate 157 Pencil, bottom left: in an earlier state the at feature an important ensemble his of most recent works. The third issue, from reproducedSpring fourteen 1927, Monster including paintings, Mi-Carême (L’Homme aux gants), The letter is an important source for dating these four paintings, for suggests it that all would have been completed by the time the artist wrote to Doucet. La Femme au monocle Mougins, c. May 1925–26 Oil and enamel paint on board 41 collectionPrivate 149 Plate Enamel paint, bottom left: PiCABiA Le Baiser c. May 1925–26 Oil and enamel paint on canvas, in a frame likely by Pierre Legrain

A iS Picabia iS

i would

),

The Lovers

(

Francis PicabiaFrancis FRANCiS FRANCiS

FRANC , Buffet-Picabia she writes, “but I them one the of S PiCAB

i

Mardi Gras (

), Mougins,), This Quarter

Lent FRANC ‑ TheThree Graces Rencontres (

), Mougins,), May–

" (116 × 115 cm) × 115 " (116 Mid " (105 × 75 cm) × 75 " (105 " (105 × 75 cm) × 75 " (105 4 ⁄ ( ), Le), Tremblay-sur-Mauldre 2 2 ⁄ ⁄ " (92 × 73 cm)" (92 × 73 " (100 × 81 cm) × 81 " (100 1

4 8   ⁄ ⁄ ), Le Tremblay-sur-Mauldre), 7 3

Woman with Pink Gloves [Man ( × 45 × 29 × 29 ₆ × 31 ₆ ₆ × 28 1 ⁄ Carême Carême 1 1 8 4 ⁄ ⁄ ⁄ ⁄ André Breton purchased this panting In her book In a letter to Doucet dated March 22, ‑ 5 5 1 3 11

Fractional gift from Jan Shrem and Maria Manetti Shrem Plate 150 Oil, bottom left: MoMA only Les Grâces Trois Mougins, May 1925–March 1926 Oil, enamel paint,and pencil on board 41 collectionPrivate Plate 154 Enamel paint, bottom right: Musée d’Art moderne de la Ville de Paris Plate 148 Enamel paint, bottom left: for 900 francs from the Duchamp sale at the Hôtel Drouot in Paris in March 1926. La Femme aux gants roses (L’Homme aux gants) Gloves]with or Paris, Mougins, c. 1925–26 Oil on board 41 San Francisco Museum Modern of Art. Mi Le Tremblay-sur-Mauldre or Paris, c. 1924–Mougins, March 1926 Oil and enamel paint on canvas 39 Jeff and Mei Sze GreeneCollection Plate 155 Enamel paint, bottom left: PiCABiA Les Amoureux (Après la pluie) [After the Rain] 1925 December Enamel paint and oil on canvas 45 or Paris,1924–Mougins, c. March1926 Enamel paint on canvas 36 Collection Natalie of and Léon Seroussi Plate 151 Enamel paint, bottom left: PiCABiA writes that she discovered the Monster paintings in a corner studio Picabia’s of when she was visiting him in Cannes. “He wanted to destroy them,” begged him not to, finding most astonishing aspects his of personality.” Mardi Gras (Le Baiser) [The Kiss] issue the of journal 1926, Picabia wrote1926, that a forthcoming

OUR HEADS ARE ROUND SO OUR THOUGHTS CAN CHANGE DIRECTION FRANCIS PICABIA 354 357 CHECKLIST OF THE EXHIBITION

- , -

), Égoïsme

; oil, bottom

), Paris,), January–

—an indication that Francis PicabiaFrancis

), Paris,), 1947– " (168.5 × 125.8 × 7 cm), × 125.8 " (168.5 Danger of Strength (186 × 126.1 × 12 cm) × 12 × 126.1 (186 4 ( ⁄ Francis PicabiaFrancis 1947–1950 Picabia Francis L’iNSENSÉ , as well as that of " 3 4 ⁄ 3

Symbole × 2

" (150 × 95 cm) × 95 " (150 " (115.5 × 89 cm) " (115.5 2 8 ₆ ⁄ × 4 ⁄

1  8 ⁄ 3 ⁄ The Lunatic  5

Selfishness

( L’Insensé ( , Paris, 1947 Francis Picabia 1948 , who, would become his collaborator × 49 × 37 × 35 ₆ ₆ × 49 1 1 2 4 ⁄ ⁄ ⁄ ⁄ Although the date range inscribed by Traces paint of remain on the wood 5   1 PAB

Oil, bottom left: Danger de la force Paris, 1947–early October 1950 Oil on canvas 45 Museum Boijmans Beuningen, Van Rotterdam Plate 217 Oil, bottom left: Égoïsme October 1948/c.1950 Oil on panel, in original wood frame 73 with frame Museum Boijmans Beuningen, Van Rotterdam Plate 218 Oil, bottom center: 1947–1950– Picabia here spans this to 1950, painting was exhibited Galerie at des Deux-Îles in Paris in November Technical 1948. analysis has revealed that Picabia origi nally inscribed the painting with the date later1948, modifying to it read 1947–1950. During the run the of exhibition, 1948 Picabia met Pierre André Benoit, known as on illustrated books a couple years later. L’Insensé 1948 October Oil on board, in original wood frame 66 with frame Museum Ludwig, Cologne Plate 213 Oil, bottom left: center: frame of and the later Picabia worked on the paintings after they had been framed. certain that the show was actually held, though friend Picabia’s and correspon dent Jean Heeckeren Van was helping to organize it. Niagara Oil on wood 59 Friedrich Christian Flick Collection Plate 210

),

Paris

; oil, bottom left: Happiness of

( ; oil, bottom

Portrait of a Couple (

), Golfe-Juan), and/or Francis PicabiaFrancis PicabiaFrancis Picabia Francis PicabiaFrancis 1951 – ), Golfe-Juan), and/or

in April the man 1936; POSTWAR 6

" (105 × 76 cm) × 76 " (105

₆ " (149 × 95 cm) × 95 " (149 " (151.5 × 96 cm) " (151.5

NIAM-NIAM

8 1 ₆ " (115 × 90 cm) " (115 ⁄ ⁄ 0: " (105.7 × 77.4 cm) × 77.4 " (105.7 1 ₆ 3 ⁄ 2 Spring 1 ⁄ 15 1 194 in March 1938. ( ⁄

 13 7

), Paris,), c. 1947

Woman with Black-and-White ( , Paris, January–early October 1947 KALiNGA × 37 × 29 ₆ × 30 ₆ × 37 × 35 1 ⁄ 8 1 8 4 ⁄ ⁄ ⁄ ⁄ It isIt possible that this painting was first The two figures in this painting come 5 5 11 5 1

Oil on wood 58 right: in the foreground, a photograph in Sex Appeal ILLUSTRATED AND ABSTRACTIONS LETTERS, Kalinga Bonheur de l’aveuglement PicabiaFrancis exhibited Galerie at Dellevoy in Brussels theat catalogue No end 1946. of from the show exists, however, and is it not Portrait d’un couple Printemps Courtesy Michael Gallery, Werner London,New York, and Märkisch Wilmersdorf Plate 194 Oil, bottom left: from two different sources: the woman and background, a photograph printed in Paris-Magazine CHAPTER Inge and Philip van den Hurk, The Netherlands Plate 209 Oil, bottom left: Blindness Oil on wood 59 Private collection.Courtesy Galerie Zurich Haas, Plate 211 Oil, top left: Golfe-Juan and/or Tourettes-sur-Loup, 1942–43 Oil on board 41 The Museum Modern of Art, New York. 2000 Purchase, 186 Plate Oil, bottom left: Femme à la sculpture grecque Greek Sculpture Tourettes-sur-Loup, c. 1942–43 Oil on board 41 Eric Decelle, Brussels Plate 190 Oil, bottom left: Tourettes-sur-Loup, c. 1942–43 Oil on canvas 45

),

Paris-

, no. 34 , no. 34

and in ), Golfe-Juan),

), c.), 1941–43 , republished in L’Adoration du veau L’Adoration The Adoration of ( Francis PicabiaFrancis Francis PicabiaFrancis Francis PicabiaFrancis Minotaur Paris Sex Appeal in May 1938 in May 1938

Adam and Eve Five Women " (101.5 × 75 cm) × 75 " (101.5

( (

(92 × 72.5 cm) (92 × 72.5 2 " (105 × 73 cm) × 73 " (105 or ⁄ 4 " ⁄  4 ⁄ 3 (106 × 76.2 cm) (106 1

"

the following month. ), [Golfe-Juan,), Winter] 1941–42

× 29 × 28 ₆ Bathers, Nude Women at theSeashore , no. 15 (January, no. 15 and the 1937),

× 26 ₆ × 30 1 ( ⁄ 1 8 4 ⁄ ⁄ ⁄ Although Picabia generally used 5 3 5 15

Magazine Cinq femmes Oil on board 39 Friedrich Christian Flick Collection Plate 192 Oil, bottom right: KHZ only Adam et Ève and/or Tourettes-sur-Loup, c. 1942 Oil on wood 41 The Estates Emily of and Jerry Spiegel Plate 182 Oil, bottom left: MoMA only Paris brunette from (May The image 1936). the of bulldog originated from a printed card inserted into packs Senior of Service cigarettes 1939. in beginning Les , femmes nues au bord de la mer Golfe-Juan and/or Tourettes-sur-Loup, 1941 Oil on board 29 Association des Amis du Petit Palais, Geneva Plate 193 KHZ only du veau L’Adoration the Calf Oil on board 41 Centre Pompidou, Musée national d’art moderne – Centre de création industrielle, Paris. Purchase with assistance from the du Fonds Patrimoine, the Clarence Westbury Foundation, and the Société des Amis du Musée national d’art moderne, 2007 Plate 189 Oil, bottom right: images from popular ornews sources in his photo-based works, represents an exception. Here, he took his inspiration from Erwin Blumenfeld’s Surrealist photomontage known as Dictator The de l’art L’Amour

), -

Mon

),

), ; oil,

, 1941

), Golfe-),

]), c. 1940–41

Women withBulldog ( Francis PicabiaFrancis PicabiaFrancis The Foot

Francis PicabiaFrancis Francis PicabiaFrancis Francis PicabiaFrancis Francis PicabiaFrancis [ Woman with Idol ( TheWandering Jew LE JUiF ErrANT Hanged Pierrot (106 × 76 cm) × 76 (106 ( ( , Golfe-Juan and/or " " (106 × 76 cm) × 76 " (106

" (50 × 39 cm) " (50 × 39

" (105 × 76.5 cm) × 76.5 " (105 " (105.5 × 76.5 cm) × 76.5 " (105.5 " (105.4 × 74.8 cm) × 74.8 " (105.4 ₆ ₆ 8 ⁄ 8 8 ₆ 1 1 ⁄ ⁄ ⁄ ⁄ 3

1 ⁄ 1 1

Le Pied 7 15 15

– Centre de création industrielle,

Purchase from a public sale, 2003 × 15 × 30 × 30 ₆ × 29 ₆ × 29 × 29 ₆ 1 ⁄ 2 1 1 4 4 ⁄ ⁄ ⁄ ⁄ ⁄ Picabia combined images from three Unusual for this period, Picabia painted 3  9 3 5 11

different sources to arrive this at paint ing’s composition. The women are both adaptations photographs of published in popular magazines: the blonde from Private collectionPrivate Plate 195 Oil, bottom left: Paris. Plate 187 Oil, bottom left: Pierrot pendu Collection Lucien Bilinelli, Brussels and Milan Plate 191 Oil, bottom right: Le Juif errant Golfe-Juan and/or Tourettes-sur-Loup, January–March 1941 Oil on board 41 Eric Decelle, Brussels Plate 188 Oil, bottom left: bottom right: the title work’s and date on the recto. Femmes au bull-dog Golfe-Juan and/or Tourettes-sur-Loup, c. 1941 Oil on board 41 Centre Pompidou, Musée national d’art moderne ­ Femme à l’idole c. 1940–43 Oil on board 41 Tourettes-sur-Loup,January–March 1941 Oil on board 41 Courtesy Michael Gallery, Werner New London, York, and Märkisch Wilmersdorf Plate 183 Oil, bottom right: Untitled ( Oil on wood 19 Courtesy Michael Gallery, Werner New London, York, and Märkisch Wilmersdorf Plate 184 Oil, bottom left: Juan and/or Tourettes-sur-Loup, June 1940–March 1941 Oil on wood 41

), ),

Paribas

Sensual Face (

BNP

; oil, bottom

), Golfe-Juan,),

Fratellini ClownFratellini 1943 ( Francis PicabiaFrancis Francis PicabiaFrancis Francis PicabiaFrancis –

portrait ), Golfe-Juan), or Paris, 0 Superimposed Heads ‑ (

" (57 × 45 cm) × 45 " (57 PHOTO-BASED Self 194

PRiNTEMPS " (73 × 63 cm) × 63 " (73 " (106 × 76 cm) × 76 " (106

₆

( ₆ ₆ 1 ⁄ " (148.3 × 94.9 cm) " (148.3 1 1 " (92 × 73 cm)" (92 × 73 ⁄ ⁄ Spring 8 4 9: ⁄ ⁄

11 (

3 15 13 3

), Paris), or Golfe-Juan, c. 1938 Francis PicabiaFrancis × 17 × 37 × 29 × 28 × 24 ₆ 8 4 4 4 1 ⁄ ⁄ ⁄ ⁄ ⁄ Picabia is believed to have worked on 3 3 3 1 7

Collection Lucien Bilinelli, Brussels and Milan Plate 185 Oil, bottom right: Oil, bottom right: Printemps c. 1937–38/Golfe-Juan, c. May 1943 Oil on wood 58 The Menil Collection, Houston Plate 181 Oil, top left: right: this painting in two separate campaigns: first duringwhen the 1937–38, artist was moving between Golfe-Juan and Paris, painting in both places, and second around inMay Golfe-Juan, 1943 where Picabia and Olga Mohler lived off during and on thewar. According to Mohler, as well as the friends couple’s and Christine Boumeester, Picabia went through a period when he painted flowers everything.on CHAPTER PAINTINGS, Autoportrait June–December 1940 Oil on board 22 Le Clown Fratellini Golfe-Juan or Paris, 1937–38 Oil on canvas 36 collectionPrivate Plate 178 Visage sensuel sur composition abstraite (Portrait de Marlene Dietrich) on Abstract Composition [Portrait of Marlene Dietrich] Oil, gouache, and pencil on board 41 Courtesy collection. Private Art Advisory Plate 176 Oil, bottom right: Têtes superposées Paris or Golfe-Juan, 1938 Oil on wood 28 collectionPrivate Plate 180

),

;

Paribas

),

BNP that opened STEiN

/

), Golfe-Juan,),

TheSpanish ( Francis PicabiaFrancis Portrait of a Woman Francis PicabiaFrancis

( Francis PicabiaFrancis Francis PicabiaFrancis Francis PicabiaFrancis Woman and Face ( GERTRUDE , Paris or Golfe-Juan, 1937

" (112 × 104 cm) × 104 " (112

" (85 × 70 cm) × 70 " (85

₆ " (162 × 130 cm) × 130 " (162 ₆ 1 ₆ ⁄ " (73 × 60" (73 cm) 1 ⁄ 1 8

⁄ ⁄

9 15 ), Golfe-Juan,), January–early 3 5

TheAlgerians [Ann Sheridan and ( × 24" (76 × 61 cm) × 61 (76 × 24" × 27 ₆ × 40 × 23 × 51 1 ₆ ⁄ 8 Exposition Picabia Francis 4 4 ⁄ 1 ⁄ ⁄ ⁄ This painting photo- is based on a 1937 This painting was likely included in 1 15 3 3 7

Private collection.Courtesy Dominique Lévy Gallery and Michael Gallery Werner Plate 179 Oil, bottom left: Les Algériennes (Ann Sheridan et sa fille aux oiseaux) Her Daughter with Birds] January–early April 1937 Oil on wood 44 Courtesy collection. Private Art Advisory Plate 174 Oil, bottom left: Oil, top right: oil, bottom right: graph Stein of by Cecil Beaton, in which she wears a plain brown coat and coral brooch. The painting remained in Stein’s possession until her death in and 1946, then that her of estate until around 1970. La Révolution espagnole Revolution April 1937 Oil on canvas 63 the Galerieat Duvernay in Cannes on as suggestedFebruary by 1937, a local 12, critic’s descriptionthe one of works of on display: face “a pierced with large, worrying and ambiguous eyes is, to our humble taste, one the of best thingsin this exhibition.” Oil on canvas 29 Private collection. Courtesy Galerie Zurich Haas, Plate 171 Oil and enamel paint on wood 33 collectionPrivate Plate 177 Oil, bottom left: Portrait de femme Mougins, Paris, and/or Golfe-Juan, 1935–Golfe-Juan, [January] 1937 Oil on canvas 28 Ales Ortuzar, New York Plate 170 Oil, bottom right: Femme et visage c. 1935–38

OUR HEADS ARE ROUND SO OUR THOUGHTS CAN CHANGE DIRECTION FRANCIS PICABIA 356 359 CHECKLIST OF THE EXHIBITION

),

; oil, bottom ), Paris,),

, Alès, France , Alès, France ), Paris,), 1950

oil, bottom right: ; oil, bottom right: in January/February PAB PAB ), Paris,), 1950 Francis Picabia 1950

Francis Picabia 1950 " (103.4 × 88.4 × 1.9 cm), × 88.4 × 1.9 " (103.4 4 ⁄

1950 1951; Francis PicabiaFrancis 3 Francis PicabiaFrancis

), Paris,), 1950 Living Painting

( ×

Symbole

₆ " (175.8 × 125 cm) × 125 " (175.8 Double Sun Double

1 ₆ ⁄ " (105 × 74 cm) × 74 " (105 ( " (65 × 54 cm) × 54 " (65 " (55.5 × 46.8 cm) " (55.5 " (34 × 25 cm) " (34 × 25 1 8 ⁄ , Paris, 1950 ⁄ 4 ₆ ⁄ ₆

13

Little Sun

3 1 1 1 1 ⁄ ( ⁄ 7

Symbol 13 ( 1950 × 34 × 49 × 29 × 21 ₆ ₆ ₆ × 9 ₆ 1 × 18 became a source monetary of support: ⁄ 1 1 8 1 ⁄ 8 ⁄ ⁄ ⁄ In the last years life, Picabia’s of as ⁄ 3 5 11 3 9 7

The Enchantment [The Encircling] 69 Hauser & Wirth Collection, Switzerland Plate 230 Oil, bottom left: PicabiaFrancis KHZ only Composition Oil on canvas 21 Musée-bibliothèque illustratedNot Oil, bottom right: L’Ensorcellement (L’Encerclement) ( Paris, 1950 Oil on board 13 Private collection. Courtesy Galerie Scheidecker Sophie illustratedNot Oil, bottom center: Symbole Oil on canvas, in original wood frame 40 with frame Musée-bibliothèque Plate 229 Oil, bottom left: right: he faced increasing financial difficulty, PAB he purchased and least at three1951, more paintings by the year’s end. vivantTableau January–June 1951 Oil on board 41 Inge and Philip van den Hurk, The Netherlands Plate 237 Oil, bottom left: PicabiaFrancis Petit soleil Oil on board 25 Inge and Philip van den Hurk, The Netherlands Plate 228 Oil, bottom left: soleil Double Oil on board

),

),

; oil, bottom

), Paris, Francis Picabia 49 Francis Picabia 1949 Cynicism and Indecency and Cynicism ( show Galerie at Francis Picabia 1949 Francis Picabia 1949 Francis Picabia 1949 The Black ofBlacks

Francis PicabiaFrancis (

" (65 × 54 cm) × 54 " (65 " (46 × 36.5 cm) " (46 × 36.5 " (55 × 46 cm) " (55 " (64.5 × 54 cm) × 54 " (64.5 4 ⁄ " (35 × 24 cm) × 24 " (35 8 Ultramarine 8 4 ⁄ ⁄ ⁄ 1 ₆ ( 3 1 1 1

⁄

" (45.7 × 38.7 cm) × 38.7 " (45.7

7 4 ⁄ 1 Picabia: Point , Paris, [January–November] 1949 1949 , Paris, [January–November] 1949 × 21 × 14 × 21 × 18 × 9 ₆ 8 8 8 1 4 ⁄ ⁄ ⁄ ⁄ ⁄ Although documentary evidence is 1 3 9 3 5

Outremer Michael Märkisch Werner, Wilmersdorf, Cologne, and New York Plate 225 Oil, bottom left: right: [January–November] 1949 Oil on canvas 13 Private collection.Courtesy Galerie Michael Märkisch Werner, Wilmersdorf, Cologne, and New York Plate 226 Oil, bottom center: Private collection.Courtesy Galerie Points Oil on canvas × 15 18 Courtesy Michael Gallery, Werner New London,York, and Märkisch Wilmersdorf Plate 227 Oil, bottom right: Cynisme et indécence Paris, January–November 1949 Oil on canvas 25 Silence Oil on board 21 Private collection. Courtesy collection. Private Hauser & Wirth Plate 221 Oil, bottom center: Le Noir des noirs Paris, [January–November] 1949 Oil on board 25 Private collection. Courtesy Galerie Michael Märkisch Werner, Wilmersdorf, Cologne, and New York Plate 222 Oil, bottom right: lacking, this painting was presumably included along with the many other Point paintings from that 1949 were displayed in the des Deux-Îles in Paris, which opened 12. December Untitled, Paris, [January–November] 1949 Oil on wood 18 Private collection. CourtesyGalerie Michael Märkisch Werner, Wilmersdorf, Cologne, and New York Plate 224 Oil, bottom left:

; /

en

/

vivre

/

), Paris,),

and wrote de

. /

491: 50 Years of Years 50 491: 1952 ( – Francis Picabia 1949 La joie 9 . When. was it exhibited Beau dessin il me semble ? Francis Picabia 1949 Francis Picabia 1949 194

THE POINTS AND POINTS THE Picabia: Point

" (76 × 52 cm) × 52 " (76

" (52.9 × 23.4 cm) × 23.4 " (52.9 2 " (54 × 35.7 cm) " (54 × 35.7 ⁄ ₆ ), Paris,), January–November ₆ " (29.2 × 20.8 cm) × 20.8 " (29.2  1 ⁄ 1 11: ⁄ ₆

3 1  ⁄

3

) at Galerie) at René Drouin, which sous la pluie Suns ( Cartejouerà × 9 × 20 ), Paris,), January–February 1949 / ₆ ₆ × 8 1 × 14 1 ⁄ ⁄ ‑Hagenbach, 1968 2 4 ⁄ ⁄ During these years, Picabia often This painting was first exhibited at 13 15  1

Salary Is the Reason for Work Cowardice of Subtle Barbarism [Playing at Galeries des Deux-ÎlesinDecember, wasit under the Nietzsche-inspired title Lâcheté de la barbarie subtile Soleils 1949 Oil on board 20 Kunstmuseum Basel. Gift Marguerite of Arp Plate 219 Oil, bottom center: encountered the artist and his then-companion (later wife) Marguerite Hagenbach in Switzerland. Arp reviewed the exhibition the preface exhibition for Picabia’s the at Rose Fried Gallery in in early New York Both shows1950. included this painting. Illustrated Christine to letter Boumeester, Rubigen, Summer 1951 Ink on paper 11 Collection Hélène Trintignan Plate 208 Ink, center right: ink, bottom right : Suisse CHAPTER LAST WORKS, Le Salaire est la raison du travail ( 1949 January–February Oil on board 21 The David and Alfred Smart Museum Art,of The University Chicago. of Gift Stanley of G. Harris, Jr. Plate 220 Oil, bottom left: Lâcheté de la barbarie subtile (Carte à jouer) ( Card] Oil on board 29 Private collection. CourtesyGalerie Michael Märkisch Werner, Wilmersdorf, Cologne, and New York Plate 223 Oil, bottom left: ans 50 de plaisirs491: Pleasure opened March 4, 1949. There, it was titled

/ -

soir. / l’aimer ?

/

la riviera

sont si jolis ...... /

/

de ; ink, bottom

/ à Paris mardi

/

,” written,” on this draw

Comment ne pas mouettes

/ LE PRiNTEMPS CHI LO SA ? " (29.3 × 20.5 cm) × 20.5 " (29.3 .” Picabia.” and Mohler had lost was published by Pierre André ₆ " (26.5 × 21 cm) × 21 " (26.5 " (29 × 21 cm) × 21 " (29 1 " (26.6 × 21 cm) × 21 " (26.6 " (26.6 × 21 cm) × 21 " (26.6 simple, ses gestes ses simple, 4 4 ⁄ ⁄ ⁄ 4 4 ⁄ ⁄

 1

1 aux

1 1 / / Nous rentrons × 8 × 8 × 8 × 8 × 8 ₆ ₆ ₆ CHI LO SA ? 2 2 1 1 1 ⁄ ⁄ ⁄ ⁄ ⁄ “ Picabia sent this illustrated letter 7   9 7

stolen from their apartment. Illustrated Christine to letter Boumeester, [August] 1949 Rubigen, Ink on paper 11 Collection Hélène Trintignan Plate 201 Ink, center: ing, refers to a collection short of poems and aphorisms that Picabia was writing that summer during his sojourn in Rubigen. CHI-LO-SA Benoit in Alès the following year. Illustrated letter to Jean Heeckeren, Van Rubigen, August 1949 5, Ink on paper 11 Illustrated letter to Jean Heeckeren, Van Paris, July 9, 1949 Ink on paper 10 Collection Hall Plate 204 Ink, top right: Elle est si Illustrated letter to Jean Heeckeren, Van Paris, 1949 July 16, Ink on paper 10 Collection Kilik Jon Plate 205 shortly before he and Mohler left Paris for their annual summer holiday in Rubigen. “Thank you very much for your letter, I will leave a little calmer,” the artist wrote histo friend. “These money questions are horrendous much their of financial security earlier that year, when a number jewels of were Plate 207 Ink, center: right: Amitiés Collection Julian Schnabel Plate 206 Illustrated letter to Jean Heeckeren, Van Paris, 1950 May 17, Ink on paper 10 Collection Julian Schnabel

/ /

/ /

DE

à ]), la / / / / ; ink, , but its chez

/ AUX OURS

/

Trouver

SOUVENiR magnifique

Toutes mes amitiès mes Toutes / Faut il dessiner comme

Chiquito with Bear [ c’est mieux que l’ours aussi Lettres à Christine À LA FAUSSE la grande boite de nuit

(29 × 20.5 cm) × 20.5 (29 " (29.7 × 20.8 cm) × 20.8 " (29.7 ₆ " " (29.5 × 20.2 cm) × 20.2 " (29.5 / / " (29.5 × 20.5 cm) × 20.5 " (29.5 ₆ 1 ₆ " (26.5 × 21 cm) × 21 " (26.5 ⁄ ₆ 1 1 4 ⁄ ⁄ ⁄ 3

1 ⁄

1 

15  ; ink, center right: Francis × 8 ; ink, top left: × 8 × 8 ₆ / ; ink, bottom left: × 7 × 8 1 ₆ ₆ ⁄ 8 8 1 1 ⁄ ⁄ ⁄ ⁄ Although this letter is undated, the This undated letter is not included in 7 5 11 7 5

Chiquito à l’ours Illustrated letter to Jean Heeckeren, Van Paris, April 1949 31, Ink on paper 10 Collection David and Marcel Fleiss; Paris 1900–2000, Galerie Plate 203 the collected compositional similarity to the letter sent frombelow, Rubigen on September 9, suggests that may it have been sent from there around the same time. Illustrated letter to Christine Boumeester, Rubigen, September 9, 1946 Ink on paper 11 Collection Hélène Trintignan Plate 198 KHZ only envelope reveals thatwas it posted in Rubigen on September Picabia 9. and Mohler often spent their summers in this Swiss town with Mohler’s family. On the back the of envelope, Mohler added: “I think that Francis is feeling blue.” Illustrated letter to Christine Boumeester, Rubigen, September 1946 12, Ink on paper 11 Collection Hélène Trintignan Plate 197 Ink, center right: cela ? Illustrated letter to Jean Heeckeren Van ( Rubigen, Summer 1946 Ink on paper 11 collectionPrivate Plate 196 Ink, top right: ChiQUiTO Berne Francis main VISITE MA Olga trouve dessin ce bottom right: Illustrated letter to Christine Boumeester, [Rubigen, September] 1946 Ink on paper 11 Courtesy collection. Private Galerie Paris 1900–2000, Plate 199

; oil,

), Cela

; ink, top right: Francis Picabia 1949 Francis Picabia 1948 Suzanne’s Dream Suzanne’s ), Paris,), 1949 ( ; ink, center left: Francis Picabia 1949

Francis Picabia 1948 ), Paris,), [January– / P (153.2 × 116 cm) × 116 (153.2

veuve "

), Paris,), 1948 / i à dimanche ₆ " (116 × 88 cm) " (116

" (97 × 130.5 cm) " (97 × 130.5 1 8 " (74.5 × 51.5 cm) × 51.5 " (74.5 ⁄ ⁄ 8 4 ⁄ ⁄ " (26.6 × 20.5 cm) × 20.5 " (26.6 5

3 11 ₆ 1 / C

" (27 × 21 cm) × 21 " (27 1 Hashish 4 ⁄

⁄ Colloquium

(

 ( 1 / A Widow 8

Gift Mrs. of OlgaPicabia, 1986 ( × 34 × 45 × 20 × 51 ₆ × ₆ × 8

₆ ₆ 1 ⁄ / B 1 2 1 1 8 ⁄ ⁄ ⁄ ⁄ ⁄ 5 5 3 11 5 

Illustrated letter to Suzanne Romain, c. 1944–48 Ink on paper 10 collectionPrivate Plate 202 Plate 216 Oil, bottom center: LE RÈVE DE SUSANNE KHZ only Illustrated letter to unknown recipient, n.d. Ink on paper 10 collectionPrivate Plate 200 Ink, top left: A / i devient / une / bonne / blague les [v]entes – pensezqu’en vous? Oil, bottom left: bottom right: Colloque Oil on canvas 38 collectionPrivate Plate 215 Oil, bottom right: Le Rêve de Suzanne 1949 January–February Paris, Oil on board 29 Collection Charles Szwajcer Oil on canvas 45 Friedrich Christian Flick Collection Plate 214 Oil, bottom center: Haschich KHZ only Veuve Oil on wood 60 Centre Pompidou, Musée national d’art moderne – Centre de création industrielle, Paris. Plate 212 Haschich 1948 October]

OUR HEADS ARE ROUND SO OUR THOUGHTS CAN CHANGE DIRECTION FRANCIS PICABIA 358 361 SELECTED BIBLIOGRAPHY

.

20, 30

. MIT . “Parody . Paris: Press, 2000). Press, D

. H MIT , 343–364 , 343–364 The Art Bulletin 4 no. 67, Picabia avec Nietzsche: lettres . Cambridge: The 1 (1976): 122–123. Translated 122–123. 1 (1976): . “Picabia, Dada de à Pétain.” . . “Leather October and Lace.” . Paris: Jean-Michel Place, 1998. e , 9–20. Exhibition catalogue. amour Suzanne à Romain (1944–1948) ’ Dijon: Les presses2010. du réel, Breton, André. In “Préface.” Exposition Francis Picabia, novembre–8 18 décembre 1922 Barcelona: , 1922. Buchloh, Benjamin Macula and reprinted as Bois, “Francis Picabia: Dada From to Pétain,” trans. Thomas Repensek, October (Autumn 120–127. 1984): Borràs, Maria Lluïsa. Picabia Translated by Kenneth Lyons. Rizzoli, Simul-New York: 1985. taneously published in French and Spanish editions. Boulbès, Carole. Picabia: Le saint 131 (Winter 2010): 116–149. (Winter131 2010): Bohn, Willard. ‘Mechanical “Picabia’s Expression’ and the Demise the of Object.” 673–677. (December 1985): Bois, Yve-Alain. Picabia Flammarion, 1975. masqu d Baker, George. The Artwork Caught Francisby Tail: Picabia the and Dada in Paris Press, 2007. and Appropriation in Francis Picabia, andPop, Sigmar Artforum Polke.” 28–34. Revised 7 (Marchno. 1982): and reprinted in Buchloh, Neo- Industry: Culture and Avantgarde Essays on European and American Art to1975 from 1955 (Cambridge: The

.

‘Aujord’hui “ Francis Picabia: . Paris: 1908. Eugène Rey, bliés à la collaboration Art moderne la de Ville ’ . “Sur Francis photo Picabia,” : Fonds général. : Collection Jacques de Doucet, éditeur Pierre André Benoit ).” PhD diss., Université Paris— écriture poétique: Des premiers aqua-fortiste PAB ’ Sorbonne, 2014. Published sources André, Édouard. Picabia: le peintre & l Exhibition catalogue. New York: Rose Fried Gallery, 1950. Audinet, Gérard. “Picabia et la re-peinture.” In pense Francis à moi.’ Picabia, Ego, PhD diss., Modernité, 1913–1927.” École des hautes études en sciences 2015. Paris, sociales, Arx,Von Pauline. “Francis Picabia et l’ poèmes pu avec l’ ( album in the archives the of Comité Picabia, Paris, included not in the partial facsimile published by Brinkmann & Bose in 1975. Aurélie. Verdier, Arp, Jean. “Francis In Picabia.” Picabia of unpublishedof memoirs in the archives Fonds FrancisFonds Picabia, Bibliothèque littéraire Jacques Doucet, Paris. See also AndréFonds Robert Breton, Fonds Desnos, and Tristan Fonds Tzara. Fonds Gabrielle Buffet-Picabia, Bibliothèque Kandinsky, Centre Georges Paris. Pompidou, See also Maria Lluïsa Borràs papers in the archives the of Comité Picabia, Paris. Mohler [Picabia], Olga. Manuscript of theof Comité Picabia, Paris. Singulier idéal, edited by Suzanne Pagé and Gérard Audinet, 92–96. Exhibition catalogue. Paris: Musée d de Paris, 2002.

- ,

, exh. cat. (Paris: (Brussels: Mercator- . “Needing the Sun: Francis : Fonds Pierre: Fonds André Benoit, : Gertrude Stein and Alice B. Francis Picabia’s Painting 1939–1945.” Francis Painting Picabia’s 1939–1945.” Master’s thesis, Université la de Sorbonne, Paris 1995. IV, Cochran, Sara. “The Media Sources of Picabia and the Riviera, 1925–1945.” PhD diss., Courtauld Institute Art, of London, 2004. Département des manuscrits, Biblio- thèque nationale France, de Paris. See also Départment des livres rares. SELECTED BIBLIOGRAPHY What follows is a list key of primary and secondary sourcesdevoted to Francis Picabia. Items are listed alpha- betically, and then chronologically. comprehensive more For source lists, see the bibliography in William A. Camfield, Beverley Calté, Candace Clements, and Arnauld Pierre, eds., Francis Picabia: Catalogue Raisonné 1898–1914 vol. 1, fonds, 407–412; and 2014), in Suzanne Pagé and Gérard Audinet, eds., Francis Picabia: Singulier idéal Musée d’Art moderne la de Ville de The footnotes 448–457. Paris, 2002), for the essays and for the chronology in the present volume contain addi tional bibliographic references. Unpublished sources Alfred Stieglitz/Georgia O’Keeffe Archive, Collection Yale American of Literature,Beinecke Rare Book and Manuscript Library, University. Yale See also Papers. Toklas des départementales Archives Alpes-Maritimes, Nice. Archives the of Ballet Suédois, Rolf Maréde Study Dansmuseet, Center, Stockholm.

will on

PAB

published and Picabia,

March), 1952 PAB Ma Solitude Ma PAB

" (9.6 × 11.3 cm) " (9.6 × 11.3 ₆ 1 ⁄ 7

My Solitude My ( × 4 4 ⁄ 3

This book marked a new phase in the January 18, 1952, thatJanuary “ 1952, 18, follow in a few days. Francis has begun to illustrate In it.” reality, the artist needed another month for the drawings, and the book was published in March that of year. for was it the first time a collection his of own poems, asking Picabia to design illustrations specifically for the text. Mohler wrote to Pierre André Benoit Solitude Ma Illustrated book with eleven offset lithographs after drawings by Picabia, on gray Auvergne paper Page: 3 Printer: Pierre André Benoit Publisher: Pierre André Benoit Edition 50 of Collection David and Marcel Fleiss; Paris 1900–2000, Galerie Plate 235 collaboration between -

- ), -

), ’s desire’s

PAB reassembled a The Slightest Effort " (28.1 × 22.4 cm) × 22.4 " (28.1 ₆

( 1 PAB ⁄ The Masked Saint " (9.5 × 14.8 cm) " (9.5 " (13.4 × 12.6 cm) × 12.6 " (13.4

₆

13 16 1

⁄ ⁄ Galerie 1900–2000, Paris 1900–2000, Galerie 15 13

× 8 ₆ 1 ⁄ × 4  4 4 × 5 ⁄ ⁄

3 1

, January 1952 21, Many poems Picabia’s of in this text In this book, December 1950 December Illustrated book with two offset litho graphs after a letter by the artist Page: 3 Le Moindre Effort Moindre Le Plate 233 represent adaptations fragments of from Nietzsche. 591 Illustrated book with fiveoffset litho graphs after drawings by the artist and typographical composition by Pierre André Benoit, on vellum Aussedat Page: 11 Page: 5 to pay homage to the aging artist. Publisher: Pierre André Benoit Printer: Pierre André Benoit Edition 355 of collectionPrivate Plate 234 number poems Picabia’s of and drawings that the artist had not originally conceived as a unified collection. Published the day before seventy-third Picabia’s birth theday, project was born of Publisher: Pierre André Benoit Printer: Pierre André Benoit Edition 33 of Private collection; Collection David and Marcel Fleiss; Publisher: Pierre André Benoit Printer: Pierre André Benoit Edition 100 of collectionPrivate Plate 232 Le Saint masqué ( September 1951 Illustrated book with perforated cover design by Pierre André Benoit after a drawing by the artist, and ten offset lithographs after drawings by the artist, on blue Auvergne paper

-

-

-

),

),

in late March ; oil, bottom left: The Earth

PAB . ( O . K

The Earth Is Round

/

" (12.9 × 9.1 cm) × 9.1 " (12.9 ₆ 1 ⁄ ViLLEJUiF " (78 × 63 cm) × 63 " (78 For and Against 9 ), Paris,), c. 1951

₆ . 1 ⁄ O . " (149.5 × 95.5 cm) × 95.5 " (149.5 " (92 × 73 cm)" (92 × 73 added his own on the single 13

8 4 ⁄ ⁄ × 3 K 3

5 ₆

1

/ ⁄

—magnificent.” He continued: , Paris, September 1951 

PAB × 24 is dated March 11, 1950. He appar He is dated March 1950. 11, ₆ × 28 × 37 1 ⁄ 4 8 ⁄ ⁄ According to scholar Pauline von Arx, Both La est Terre ronde andLa Terre 7 11 1

Oil on canvas lithographs by Pierre André Benoit after drawings by the artist and fiveoffset Picabia’s originalPicabia’s manuscript for Pour et contre ently gave the pages to Collection Galerie Hervé Bize, Nancy or early April, and sent his four litho graphic illustrations in The May. illustra tions by Picabia appear on the double pages; to friends; in a letter from he noted: May 22, Page: 5 KHZ only La est Terre ronde Is Round 36 Illustrated book with four offset lithographs 58 KHZ only La est Terre ronde ( 30 Paris, Autumn 1951 Oil on canvas Francis Picabia 1951 Villejuif Oil on wood “People find the editionof this little book very are good. right You to love it.” et contre “I will sign the proofs and send them back evidently He to you.” showed the proofs pages. In a letter from Picabia May 16, wrote to PAB: “I’ve just received the little book. What a pretty edition, Pour est ronde / K.O. have been called Picabia’s “last painting,” according to artist Marcel Jean and Mohler. Pour et contre ( Hauser & Wirth Collection, Switzerland Plate 236 Oil, top right: Friedrich Christian Flick Collection Plate 238 Oil, bottom right: Picabia Francis late May 1950 James Geier Collection Plate 239 Oil, bottom left: Francis Picabia 1951 Publisher: Pierre André Benoit Printer: Pierre André Benoit Edition 84 of collectionPrivate Plate 231

OUR HEADS ARE ROUND SO OUR THOUGHTS CAN CHANGE DIRECTION FRANCIS PICABIA 360 367 ). ). ).

). Rhizome” The Earth Is Spanish Woman Woman Spanish ). 1921 (detail; 1921 ).

Danger of Strength Portrait of a Couple ). 1912 (detail; see pl. 13). (detail;13). 1912 see pl. ). 2016 Artists2016 Rights 2016936806 © , Paris. credits for The Cacodylic Eye Cacodylic The The Spring The ]). 1927/1928 (detail;]). 156); see pl. ( ( , nos. 5–6. (detail; 1915 see pl. 31). Man and Woman at the Seashore ADAGP . 1930 (detail; Homme167). . see et pl. ” and “A Rearrangement” and “A of the Entr’acte ), New), York/ Pine Effect Trees, of Sunlight at Saint-Honorat [Cannes] Espagnole et agneau de l’apocalypse [ ( ARS WC1V 7QX ). 1951 (detail; 1951 see). 365: pl. 239). Picabia P. at La Maison 2016 Jean-Jacques2016 Lebel. : 978-1-63345-003-5 © 2016 George2016 Baker. © 2016 The Museum of Modern Art, New York, are and Lamb of the Apocalypse Aello endpapers: Back femme au bord de la mer ( Society ( Jean-Jacques Lebel’s essays “Francis ‘Funny Guy’ Picabia and Entr’acte ARTBOOK | D.A.P. Sixth155 Avenue, 2nd Floor New York, NY 10013 www.artbook.com Distributed outside the United States and Canada by Thames & Hudson Ltd. A High181 Holborn London www.thamesandhudson.com Library of Congress Control Number: © certain illustrations appear on 366. p. George Baker’s essay “The Body after Cubism” is ISBN L’Œil cacodylate Front cover: L’Œil see Back pl. 76); cover: Portrait d’un couple ( and Kunsthausand Zürich All works of art by Francis Picabia are All rights reserved Distributed in the United States and Canada by 1935 (detail; see pl. 172). Danger1935 (detail;172). see de la force pl. ( 1947–50 (detail; see pl. 217) Frontispiece: Picabia, center, with Nicole Groult, left, and Germaine Everling, right, in costume.1927 (see 328, p. fig. 26) Photograph 4: P. published in The Little1922 Review 8, no. 2. (see 25: Les 348); Pins, p. effet P. de soleil à Saint-Honorat (Cannes) Illustration published in 291 Untitled ( 1942–43 (detail;186) see pl. La endpapers: SourceFront 1906 (detail; 293: est see La Terre ronde pl. 2); ( P. Round Rose, Le Tremblay-sur-Mauldre. 1922 (see 324, p. fig. 21) Belgium in Printed

,

New York, and the Kunsthaus Zürich. French edition published by The Museum of Modern Art, New York, the Kunsthaus Zürich, and Mercatorfonds, Brussels Produced by the Department of Publications, The Museum of Modern Art, New York Publisher Hudson, Christopher Publisher Associate Kim, R. Chul David Frankel, Editorial Director Production Director Sapir, Marc And by Mercatorfonds, Brussels Director Steyaert, Bernard Edited by Jason Best and Alexander Provan Designed by McCall Associates, New York Mercatorfonds with coordination in Matthew Pimm Production by Printed and bound by Graphius, Belgium Coordination of color separations: Bregje Provo, Tijdsbeeld & Pièce Montée, Ghent. Directors: Ronny Gobyn and Rik Jacques editions: French and German of coordination Editorial Barbara Costermans, Tijdgeest, Ghent, and Ann Mestdag, BrusselsMercatorfonds, The book is typeset in Torque, Janson, Avenir, Avenir Next, and Garamond. The paper is 150gsm Magno Matt. The essays by Carole Boulbès, Bernard Marcadé, Arnauld Pierre, and Aurélie Verdier were translated from the French by Sharon Bowman. Cathérine Hug’s essay was translated from the German Elliott. Fiona by Juri Steiner’s essay was translated from the German by Russell Stockman. Published by The Museum of Modern Art, New York West 5311 Street New York, NY 10019 www.moma.org and Kunstgesellschaft/KunsthausZürcher Zürich Heimplatz 1 CH–8001 Zurich www.kunsthaus.ch Published in conjunction with the exhibition Francis Picabia: Our Heads Are Round so Our Thoughts Can Change Direction at the Kunsthaus Zürich (June 3–September 25, 2016) and at The Museum of Modern Art, New (November York 20, 2016 – 2017).March The exhibition 19, was organized by Anne Umland, TheBlanchette Hooker RockefellerCurator ofPainting and Sculpture, Department of Painting and Sculpture, The Museum of Modern Art. Published by The Museum of Modern Art, New York, Kunsthaus Zürich the and Art, Modern of Museum The by published edition German The Museum of Modern Art, New York, and Cathérine Hug, Curator, Kunsthaus Zürich; with Kwartler, Talia Curatorial Assistant,

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123, 123,

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é © [II]); p. 173, fig. 3; pls. 149, 168, 231–34;215, 319, p. 149, fig.173, 3; pls. [II]); p. Totalisateur 2016 The Estate of / Estate of Ger : p. 30,: p. fig. 3; pls. 25,fig. 2;63;p. 79, pls. 50, 60 (cover), 2016 Jean-Jacques Lebel: 301, p. fig. 5. Jean-Jacques

he Bancroft Library, University of California, Berkeley: [I]); pl. 186; pp.[I]); 286–287, pl. figs. 2–3. The Museum of Modern © © © David Salle/Licensed by Volucelle © e de Grenoble:153. Mus pl. ); p. 148 ( ); p. é s, France: pl. 229. Bild-Kunst, Bonn: 302,p. TomPowel fig. 6. Imaging: pl. 53. è Estate of Tristan Tzara/Christophe Tzara: pl. 59. The Estate of Jason Rhoades. Courtesy The Estate of Jason Albert Oehlen. Photo: Galerie Max Hetzler Archive: 306, p. fig. 8. 2016 Museum Associates/ Mus 2016 Alfred Thiele/ ( 2016 Estate of Pablo Picasso/Artists Rights Society ( studio Baraja, Christian collection/Photo: Private Wien Museum: fig. 193, p. 3. Stephan Wyckoff: endpapers [III];156. pl. Richard Prince. Courtesy the artist and Gagosian Gallery:1. 285, p. fig. Rheinisches Köln: Bildarchiv

Optophone Optophone Museum Boijmans Van Beuningen, Rotterdam. Photo: Studio Tromp, Rotterdam: pls. endpapers 217–218; [VI]. Museum of Art, Rhode Island School of Design, Providence. Photo: Erik Gould: pl. 83. The Museum of Modern Art, Department of Imaging and Visual Resources. Unless otherwise indicated, all photos by John Wronn: endpapers [I], photo by John Wronn and fig. Jonathan 9; 19, fig.p. 5; Muzikar;17, p. 4; p. p. 24, fig. 12;p. 24, p. fig.43, fig. 5; pl.13, 9; pl. photo by John Wronn and Jonathan1; 72–73, pp. Muzikar; 28; 66, p. figs. 27, fig. 14, pls.4–5; 56, 58,pls. 51, 63, 31, 68 (“Portrait de Tristan Tzara”); pl 72, photo by Peter Butler; pls. 78, 80, 84, 146 p. 95, ( 97; ( Art, Film Stills Archive: (“Man152 Ray and Duchamp p. playing ”); (top124 right, pl. center left, bottom left). Suzanne Nagy: pl. ( 149 p. 119; NewYork, 286, p. NY: fig. 2. Mark16. Kelman:Georges pl. Klochendler: fig. 4. 174, p. (back cover). National Gallery of Canada, Ottawa: The National pl. 37. Yale UniversityYale Art Gallery: pl. 146; 288, p. fig. 4. Lebel148 Archive: 144, (maquette); figs. 4, p. 6; p. 150–58. pp. of Leni Riefenstahl/HorstKettner chauds fig. 1; pls. 2, 4; p. 41, fig.1; pls. 2;41, 7;pl. p. 4; p. 75,26; 2, fig. pls. 147 ( fig. p. 94; 88, pls. Charles145. 34, Szwajcer: pl. 216. Man Ray Trust/Artists Rights Society ( Speronefig. 27. Westwater: 163. pl. Photo p. 44, fig. 6; p. 318, fig. 13; p. 327, fig. p.13; 25. 327, 44,p. The fig. Menil318, fig. p. 6; Collection, Houston. courtesy of T fig. p. 2; 333,171, fig. 34. p. The Louis Round Wilson Special Collections Library. University of North Carolina at Chapel Hill: 332, p. fig. 32. p. 331, fig. Kunsthaus 331, 29. p. 143;Zürich:p. 296, fig.pls.75, p. 2; 29, 305, 42,p. fig. 4. IMAGING4ART © fig. 7. 7. Kunstmuseumfig. Basel. Photo: MartinP. Bühler: Digital pl. 219. Image © Photo: Hickey-Robertson: Mercatorfonds:181. pl. fig. p. 8; p. 25; 28, 19, p. The MorganLibrary & Museum: 142. pl. members of the Gutai Art Association, courtesy Museum of Osaka Univer- sity: 144, p. 158 fig. ( p. 6; 148; 301, p. fig. 5. Mus © pl. 93. Philadelphia Museum24. 21, 11, 48, of p. Art:1; fig. 9; pls. pl. © © © © VG © © © © Artpl. 87. p. 43,p. fig. 5. Al Museum of Art. Image source: Art 1–2;p. figs. Resource,14, 46, p. NY: 19–20; fig. fig. 8; p. 3; pls. 73,p. 69, fig. 6; pl. 30. Michael Werner Gallery, 1; pl. p. 333,227; 246, p. 194; fig. fig. 33; 184, 183, 172, New160, York: pls. endpaper [V]. Moderna Museet, Stockholm: pls.1. 55, 89; 190, p. fig. Kunst, Bonn: 228, p. fig. 6. H Museum of Modern Art,148 ( Kyoto: p. University: p. 296, fig. 2. TheYork New Public Library:p. 7;45, fig. pls. fig. 3. Tim 211, p. Nighswander/ 69–71; Dada”), 64,62, 68(“Tableau Rhoades, Hauser & Wirth, and David Zwirner:1. 295, p. fig. Artists Rights Society ( Tate London/ArtTate 7; Resource, fig.pls.18, 90, p. NY: Gianni Dagli Orti/The Art Archive fig. 5. at Art174, Resource, p. NY: Reto Rodolfo Pedrini Photography: pl. 204. fig. 14. National fig. Gallery of Art,Washington, 12. National D.C.: pl. Gallery of Art Library, Washington, pls. 52 D.C.: (interior 49, page), 57, 99–108, 121–22; p. 143, fig. 3; 12. pls.99–108,121–22; p. 205–207; fig. 317, p. fig. p. 291, 6; San Francisco Museum of Modern Art. Photo: Katherine Du Tiel: pl. 150. Natalie and Léon Seroussi: TheSolomon GuggenheimR. pls.151. 48, Foundation: fig. 3; pls. 41, p. pl. 7; 36, 54.

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), New), York/ L’Œil Cacodylate L’Œil © /Licensed by (Fotògrafs): p. 111, fig. 1; p. 289, p. fig.1; 289, 5. fig. (Fotògrafs):111, p. Volucelle Volucelle © ADAGP ARS : p. 15, fig. 15, : p. 4; pls.76–77, 96, 74, 22, 40,39, ); pls. 141, 165, 203; fig. 5; pl. 271, p. 235. 141, ); pls. Estate of Pierre André Benoit/Jean Éditions Ja Éditions © NY © Peter Fischli and David Weiss: 305, p. 7. fig. © R. Hamilton. All rights reserved, DACS and The Cecil Beaton Studio Archive at Sotheby’s: © © ), New York: p. 15, fig. 3; p. 41, fig. 3;41, fig.pp. 15, p. 3; 287–88, New), York: p. Jeune fille ), New), York/ The : 332, p. fig. 32. ARS ); pl. 220. Deutsches Historisches Museum, Berlin: 228, p. ARS © 2016 Duchamp/ Marcel Succesion : pl. 5. © 2016 Max Ernst/Artists Rights Society ( NY © Galerie René Drouin/Jean-Claude Drouin and Valérie Drouin: , Paris: p. 19, fig. 9. fig. 19, , Paris: p. © Baltimore Museum of Art: pl. 33. Banque d’Images, fig. 2. Froehlich Collection, Stuttgart:p. 302, fig. 6. Galerie 1900–2000, Paris:146 ( pl. 65; p. Galerie Bruno Bischofberger: Galerie Galerie 211. 170. pl. Haas:171, pls. Hébertot: Photo fig.137. 3; pl. 139, p. figs. 3–4. Rights Society ( fig. 5. Centre Pompidou – Mnam-CciBibliothèque – Kandinsky: fig. 297, 3. p. Chancellerie des Universités de Paris – Bibliothèque littéraire Jacques 147 (Andr Doucet, fig.142, p. 2; Paris: p. pl. 61; pp. 310–39,13–23;7, figs.p. 2, 5, 365. Photo Rolf de Maré Stockholm:150 fig. p. 3; (Untitled 139, p. [portrait of Erik Satie]); pls. 125–40. Photograph Carnegie Museum of Art, Pittsburgh. Photo: Richard Stoner: Richard Art, Pittsburgh. of Carnegie Museum Photo: Germany/ Art Resource, 228, p. NY: fig. 6. Collection Merrill C. Berman. Photo: Joelle Jensen: Bibliothèque pl. 79. nationale de France:113–14, pp. p.10; 27. figs.328,191. 159; Lucien 316, fig. fig. p. Bilinelli:4–5; p. 185, pls. 82. pl. Bluff Courtesy Collection. The Ruth|Catone: ( 147 144, fig.p. 5; 120; p. 109–118, Martin: pls. 231–35. Bpk, Berlin/Museum der Bildenden K Bildenden der Berlin/Museum Bpk, 231–35. pls. Martin: fig. 25. 327, p. 212; 189, 187, 173, 162, pls. Michael Werner, Märkisch Wilmersdorf: pls. 222–226. Galerie Thaddaeus Galerie 222–226. Wilmersdorf: Märkisch pls. Werner, Michael pl. 124 (toppl. 124 left, center right, bottom right). raison du travail © 225,p. fig. 2.Beinecke Rare Book and Manuscript Library,Yale University: 1. endpapers fig. [II]; 207, p. fig. 2; pl. 119; p. 140, fig. 1; p. ( 149 p. 1; 140, fig. p. 119; fig. 2; pl. Unless otherwise indicated, all worksby the artist are Rights Society( ADAGP Foujita/Artists Rights Society ( p. 24, fig. 12. 24,p. fig. Resource, Resource, collectors who wish to remain anonymous have not been detailed here. Individual images appearing herein may be protected by copyright in the United States of America or elsewhere, and may not be reproduced in any form withoutthe permission of the rights holders. In reproducing the images contained in this publication, the permission of the rights holders was obtained whenever possible. Should the location of the rights holder have been unavailable to us, notwithstanding good-faith such concerning contactefforts, information any requestthat we rights holders be forwarded to us so that they may be contacted for editions. future Albright-Knox Art Gallery/Art Resource, Jean–François Clair:150–58; pp.124. pl. Picabia: frontispiece; p. 21, fig. 10; p. 23, fig. 11; p. 40, fig. 1; pl. 15; p. 15; 68, Picabia: 1; pl. p.11; frontispiece; 40, fig. 10; p. 23, fig. fig. 21, p. Blumenfeld and Yvette Blumenfeld Georges Deeton/ Friedrich Christian Flick Collection: pl. 238;1. 295, p. fig. recherce et de restauration des musées de France: p. 18, fig. 6. Grand Palais/Art Resource, Nacional de Catalunya/Brangulí de Nacional l’aimable autorisation de M. Pierre Berg Cocteau: pl. 68 (“Carnet du Docteur Aisen”). PHOTOGRAPH CREDITS ARS 2016: 296, p. fig. 2. Hammer Museum: pl. 6. Serge Hasenböhler Hauser176. Béatrice & Wirth:147. 174, Hatala:Fotografie: pl. pls. 230, 221, 158–159, 236.pls. Smart Museum of Art, University of ( Chicago:149 p. fig. 7. Broerefig. Charitable Foundation:166. pl. Ropac: p. 308, 10. fig. GAM – Galleria Civica d’Arte Moderna e Contem- James152. pl. poranea, GeierTorino: Collection: pl. 239; 293. p. Getty Research Institute, Los Angeles: pls. pl. 41–47; 52 (cover); pl. 59 (front cover); pl. 60 (interior page). Jeff and Mei Sze Greene Collection: pls. 3, fig. 2. 92, 247, p. 155; p. 192,p. fig. p. 2; 179; p.208, 226, fig. 2; figs.pl. 182, p.3–4; 229,7; fig. pls. 192; 248, p. fig. 190,3; pls. 188,209–210, 214–215; pp. 269–70, figs. 1–4; 11;pp. pl. 228; pls. 231–34, fig. fig. 289, p. p. 9; p. 5; 237; 307, fig. 309, 24, 26, 11, 28–31, 34–40.9, 1, 310–39,4, figs. The Art Institute of Chicago: pls. 17–18, 23. fig. 2; p. 44, fig. 6; p. 113, fig. 3.fig. Cinémathèquep. 2; 44, fig. p. 6; française – Iconoth by Avshalom Avital: pl. 86. Art

OUR HEADS ARE ROUND SO OUR THOUGHTS CAN CHANGE DIRECTION FRANCIS PICABIA 366

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