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Francis Picabia
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Francis Picabia (born François Marie Martinez Picabia, 22 January 1879 - 30 November 1953) was a well-known painter and poet born of a French mother and a Spanish-Cuban father who was an attaché at the Cuban legation in Paris, France. His mother died of tuberculosis when he was seven and his father was of aristocratic Spanish descent.
Biography
Born in Paris, financially independent, he studied under Fernand Cormon and other at the École des Arts Decoratifs in the late 1890s.
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Encyclopedia
Francis Picabia (born François Marie Martinez Picabia, 22 January 1879 - 30 November 1953) was a well-known painter and poet born of a French mother and a Spanish-Cuban father who was an attaché at the Cuban legation in Paris, France. His mother died of tuberculosis when he was seven and his father was of aristocratic Spanish descent.
Biography
Born in Paris, financially independent, he studied under Fernand Cormon and other at the École des Arts Decoratifs in the late 1890s. In 1894, Picabia financed his stamp collection by copying a collection of Spanish paintings that belonged to his father, and switched the originals for the copies, without his father's knowledge, and sold the originals. Fernand Cormon took him into his academy at 104 boulevard de Clichy - a nursery of young talent, Van Gogh and Toulouse-Lautrec had studied there. From the age of 20 he lived by painting - and then inherited money from his mother. In the beginning of his own career, from 1903 to 1908, he was influenced by the impressionist paintings of Alfred Sisley. Little churches, lanes , roofs of Paris, riverbanks, wash houses, lanes, barges - these were his subject matter. Some however, began to question his sincerity and said he copied Sisley, or that his cathedrals looked like Monet, or that he painted like Signac. None of which particularly bothered Picabia and he sold well - 'Bords de l'Yonne, effet du matin' for 1220 francs, a record for the time. From 1909, he came under the influence of the cubists and the Golden Section (Section d'Or). The same year, he married Gabrielle Buffet.
Around 1911 he joined the Puteaux Group, which met at the studio of Jacques Villon in the village of Puteaux. There he became friends with artist Marcel Duchamp and close friends with Guillaume Apollinaire. Other group members included Albert Gleizes, Roger de La Fresnaye, Fernand Léger and Jean Metzinger.
In 1913 Picabia was the only member of the Cubist group to personally attend the Armory Show, and Alfred Stieglitz gave him a solo exhibition at his gallery 291. From 1913 to 1915 Picabia traveled to New York City several times and took active part in the avant-garde movements, introducing modern art to America. When he landed in New York in the June of 1915, though it was meant to be a simple port of call en route to Cuba to buy molasses for a friend of his - the director of a sugar refinery - the city snapped him up and the stay became prolonged. The magazine '291' devoted an entire issue to him, he met Man Ray, Gabrielle joined him, Duchamp joined him, drugs and alcohol became a problem and his health suffered. He suffered from dropsy and tachycardia. New York ate him up. These years can be characterized as Picabia's proto-Dada period, consisting mainly of his portraits mécaniques.
Later, in 1916, while in Barcelona and within a small circle of refugee artists that included Marie Laurencin and Robert and Sonia Delaunay, he started his well-known Dada periodical 391, modeled on Stieglitz's own periodical. He continued the periodical with the help of Duchamp in America. In Zurich, seeking treatment for depression and suicidal impulses, he had met Tristan Tzara, whose radical ideas thrilled Picabia. Back in Paris, and now with his mistress Germaine Everling, he was in the city of "les assises dada" where Andre Breton, Paul Eluard, Philippe Soupault and Louis Aragon met at Certa, a basque bar in the passage de l'Opera. Picabia, the provocateur, was back home.
Picabia continued his involvement in the Dada movement through 1919 in Zürich and Paris, before breaking away from it after developing an interest in Surrealist art. (See Cannibale, 1921.) He denounced Dada in 1921, and issued a personal attack against Breton in the final issue of 391, in 1924.
The same year, he put in an appearance in the René Clair surrealist film Entr'acte, firing a cannon from a rooftop. The film served as an intermission piece for Picabia's avant-garde ballet, Relâche, premiered at the Théâtre des Champs-Elysées, with music by Erik Satie.
In 1925, he returned to figurative painting, and during the 1930s became a close friend of Gertrude Stein. In the early 1940s he moved to the south of France, where his work took a surprising turn - he produced a series of paintings based on the nude glamour photos in French "Girlie" magazines like 'Paris Sex-Appeal', in a garish style which appears to subvert traditional, academic nude painting. Some of these went to an Algerian merchant who sold them on, and so Picabia came to decorate brothels across North Africa under the Occupation.
Before the end of World War II, he returned to Paris where he resumed abstract painting and writing poetry. A large retrospective of his work was held at the Galerie René Drouin in Paris in the spring of 1949. Francis Picabia died in Paris in 1953 and was interred in the Cimetière de Montmartre. In 2003 a single Picabia painting once owned by Andre Breton sold for $1.6 million.
Images
Bibliography
- The Artwork Caught by the Tail: Francis Picabia and Dada in Paris Cambridge: October Books (2007); by George Baker - (ISBN 0-2620-2618-X)
- I Am a Beautiful Monster: Poetry, Prose, and Provocation Cambridge: The MIT Press (2007); by Francis Picabia, translated by Marc Lowenthal- (ISBN 0-2621-6243-1)
External links
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- Site of the organization developing a catalogue raisonné of the artist
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- Scans of Picabia's publication,
- Short essay
- in the MoMA Online Collection
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