Picabia, Francis - Dadaísmo / Surrealismo
The Procession, Seville, 1912
Oil on canvas
121.92 x 121.92 cm (48 x 48 in.)
The National Gallery of Art, Washington D.C.
New York as Seen from Across the Body / La ville de New York aperçue à travers le corps - 1913
Gouache, watercolor, pencil and Chinese ink on paper
Private collection
New York, 1913
Gouache, watercolor, and pencil on paper
22 x 29 7/8" (55.8 x 75.9 cm)
The Mueum of Modern Art, New York City
Edtaonisl (Clergyman), 1913
Oil on canvas
Art Institute of Chicago
See Again in Memory My Dear Udnie, 1914, possibly begun 1913
Oil on canvas
8' 2 1/2" x 6' 6 1/4" (250.2 x 198.8 cm)
The Museum of Modern Art, New York City
Star Dancer on a Transatlantic Steamer, 1913
Watercolor
Private collection
Udnie (Young American Girl: Dance), 1913
Oil on canvas
300 x 300 cm
Musée National d'Art Moderne, Centre Pompidou, Paris
Comic Wedlock, c. June-July 1914
Oil on canvas
6' 5 3/8" x 6' 6 3/4" (196.5 x 200 cm)
The Museum of Modern Art, New York City
This Has to Do with Me. c. June-July 1914
Oil on canvas
6' 6 5/8" x 6' 6 3/8" (199.8 x 199.2 cm)
The Museum of Modern Art, New York City
The Embarassment, 1914
Watercolor
Museo Thyssen-Bornemisza, Madrid
Paroxysm of Pain, 1915
Ink and metallic paint on cardboard
80 x 80 cm
National Gallery of Canada, Ottawa
Here, This Is Stieglitz Here, 1915
Pen and ink on paper
29 7/8 x 20 in. (75.9 x 50.8 cm)
The Metropolitan Museum of Art, New York City
Very Rare Picture on the Earth (Très rare tableau sur la terre) - 1915
Oil and metallic paint on board, and silver and gold leaf on wood, including artist’s painted frame
Guggenheim Museum, New York City
Fille née sans mère [Girl Born without a Mother], about 1916 - 1917
Gouache and metallic paint on printed paper
50.00 x 65.00 cm
National Galleries of Scotland, Edinburgh
Parade Amoureuse, 1917
Private collection
Machine tournez vite (Machine Turn Quickly), 1916/1918
Brush and ink with watercolor and shell gold on paper; laid down on canvas
49.6 x 32.7 cm (19 1/2 x 12 7/8 in.)
The National Gallery of Art, Washington D.C.
The Child Carburetor - 1919
Oil, enamel, metallic paint, gold leaf, pencil, and crayon on stained plywood
Guggenheim Museum, New York City
Take Me There ["M'Amenez-y"], 1919-20
Oil on cardboard
50 3/4 x 35 3/8" (129.2 x 89.8 cm)
The Museum of Modern Art, New York City
Conversation I, 1922
Watercolour and pencil on paper
595 x 724 mm
Tate Gallery, London
Conversation II, c. 1922
Watercolor on composition board
17 7/8 x 23 7/8" (45.4 x 60.6 cm)
The Museum of Modern Art, New York City
The Fig-Leaf 1922
La Feuille de vigne
Household paint on canvas
2000 x 1600
Tate Gallery, London
Self-Portrait, 1923
Ink and pencil on paper
10 7/8 x 8 3/8" (27.4 x 21.2 cm)
The Museum of Modern Art, New York City
Le baiser, 1923 - 1926
Oil on canvas
92 x 73,8 cm
GAM - Galleria Civica d'Arte Moderna e Contemporanea, Turin
La femme de l'amour - 1927-28
Watercolor, pencil and fusain on paper
Galerie Piltzer
Sotileza [Subtlety], about 1928
Gouache on paper
75.70 x 55.70 cm
National Galleries of Scotland, Edinburgh
Untitled/Sans titre, c. 1928-29
Watercolor on paper
39 x 28 cm
Private collection
The Handsome Pork-Butcher circa 1924-6, circa 1929-35
Le Beau Charcutier
Oil and mixed media on canvas
924 x 737 x 22 mm
Tate Gallery, London
Otaïti, 1930
Oil and resin on canvas
1940 x 1303 mm
Tate Gallery, London
Adam et Ève - 1931
Oil on canvas
Private collection
Virgin with Infant/Vierge à l'enfant, c. 1933-35
Oil on canvas
160 x 130 cm
Private collection
Ève, 1934
Oil on canvas
41 x 33 cm
Private collection
Portrait of a Doctor, circa 1935-8
Portrait d'un docteur
Oil on canvas
920 x 728 x 18 mm
Tate Gallery, London
Self-Portrait - 1940
Oil on cardboard
Private collection
Montparnasse - 1940-41
Oil on cardboard
Private collection
Two Nudes/Deux Nus. c. 1941
Oil on cardboard
106 x 75.5 cm
Private collection
Portrait of a Couple, 1942-43
Oil on board
41 5/8 x 30 1/2" (105.7 x 77.4 cm)
The Museum of Modern Art, New York City
Nude from Back / Nu de dos, 1942-44
Oil on wood
105 x 75 cm
Private collection
Two Women with poppies / Deux femmes aux pavots, 1942-44
Oil on cardboard
105 x 75 cm
Private collection
In Favor of Criticism / En faveur de la critique, 1945
Oil on canvas
103 x 75 cm
Private collection
The Joy in Blindness / Bonheur de l'aveuglement, 1947
Oil on wood
151.5 x 96 cm
Private collection
Coloque, 1949
Oil on cardboard
96 x 129.5 cm
Private collection
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Rico, rebelde, extravagante, pintor e poeta muito imaginativo, Picabia foi um grande comunicador , das vanguardas que surgiram no decorrer das primeiras décadas do século XX. O seu pai era descendente de uma rica família espanhola exilada em Cuba e sua mãe pertencentia à burguesia parisiense. Revelou desde cedo o seu interesse pela pintura, participando aos 15 anos de idade do "Salão de Artistas Franceses". No início do século, encontramos Picabia totalmente absorvido pela pintura impressionista. Mas, entediado com o Impressionismo, associou-se aos cubistas do círculo Puteaux e foi um dos membros fundadores da Section D’or. Em 1912, casou-se com Gabrielle Buffet com quem viajou a Nova Iorque para participar do "Armony Show". Lá conheceu Duchamp, com quem fundou o Dada americano em Nova Iorque em 1913. Sua primeira publicação Dada foi em 1916, em Barcelona. Em 1918, juntou-se ao Dada de Zurique. Seu retorno a Paris foi narrado por provocativas demonstrações Dada. Após o colapso do movimento em Paris em 1922, passou a fazer parte do Surrealismo. Em 1925, decidiu viver no sul da França, onde conheceu Olga Mohler, com quem se casou vinte anos depois. Retornou a Paris em 45 onde viveu até a sua morte.
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Francis Picabia was born François Marie Martinez Picabia on or about January 22, 1879, in Paris, of a Spanish father and a French mother. He was enrolled at the Ecole des Arts Décoratifs in Paris from 1895 to 1897 and later studied with Fernand Cormon, Ferdinand Humbert, and Albert Charles Wallet. He began to paint in an Impressionist manner in the winter of 1902–03 and started to exhibit works in this style at the Salon d’Automne and the Salon des Indépendants of 1903. His first solo show was held at the Galerie Haussmann, Paris, in 1905. From 1908, elements of Fauvism [more] and Neo-Impressionism as well as Cubism [more] and other forms of abstraction appeared in his painting, and by 1912 he had evolved a personal amalgam of Cubism and Fauvism. Picabia worked in an abstract mode from this period until the early 1920s. Picabia became a friend of Guillaume Apollinaire and Marcel Duchamp and associated with the Puteaux group in 1911 and 1912. He participated in the 1913 Armory Show, visiting New York on this occasion and frequenting avant-garde circles. Alfred Stieglitz gave him a solo exhibition at his gallery “291” that same year. In 1915, which marked the beginning of Picabia’s machinist or mechanomorphic period, he and Duchamp, among others, instigated and participated in Dada [more] manifestations in New York. Picabia lived in Barcelona in 1916 and 1917. In 1917, he published his first volume of poetry and the first issues of 391, his magazine modeled after Stieglitz’s periodical 291. For the next few years, Picabia remained involved with the Dadaists in Zurich and Paris, creating scandals at the Salon d’Automne, but finally denounced Dada in 1921 for no longer being “new.” The following year, he moved to Tremblay-sur-Mauldre outside Paris, and returned to figurative art. In 1924, he attacked André Breton and the Surrealists in 391. Picabia moved to Mougins in 1925. During the 1930s, he became a close friend of Gertrude Stein. By the end of World War II, Picabia returned to Paris. He resumed painting in an abstract style and writing poetry. In March 1949, a retrospective of his work was held at the Galerie René Drouin in Paris. Picabia died November 30, 1953, in Paris.
Guggenheim Collection - Picabia Biography
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on Quarta-feira, Julho 18, 2007 at 12:22 AM.
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5:52 PMDesconhecia-o (santa ignorância!)Mas, não posso deixar de agradecer a descoberta. A pintura dele tocou-me ;-) Fortíssima!
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