Editing Francis Picabia (section)

===Manifesto===
[[File:Picabia Machine Turn.jpg|thumb|left|upright|''Machine Turn Quickly'', 1916–1918, tempera on paper, [[National Gallery of Art]]]]
Later, in 1916, while in [[Barcelona]] and within a small circle of refugee artists that included [[Albert Gleizes]] and his wife [[Juliette Roche]], [[Marie Laurencin]], [[Olga Sacharoff]], [[Robert Delaunay]] and [[Sonia Delaunay]], he started his [[Dada]] periodical ''[[391 (magazine)|391]]'' (published by [[Galeries Dalmau]]), modeled on Stieglitz's own periodical. He continued the periodical with the help of Marcel Duchamp in the United States. In [[Zürich]], seeking treatment for depression and suicidal impulses, he had met [[Tristan Tzara]], whose radical ideas thrilled Picabia. Back in Paris, and now with his mistress Germaine Everling, he was in the city of "les assises dada" where [[André Breton]], [[Paul Éluard]], [[Philippe Soupault]] and [[Louis Aragon]] met at Certa, a [[Basque Country (autonomous community)|Basque]] bar in the [[Passage de l'Opera]]. Picabia, the provocateur, was back home.

[[File:Francis Picabia, Réveil Matin (Alarm Clock), Dada 4-5, Number 5, 15 May 1919.jpg|thumb|upright|Francis Picabia, ''Réveil Matin'' (''Alarm Clock''), Dada 4–5, Number 5, 15{{nbsp}}May 1919]]
Picabia continued his involvement in the Dada movement through 1919 in Zürich and Paris, before breaking away from it after developing an interest in [[Surrealism|Surrealist]] art. (See ''Cannibale'', 1921.) He denounced Dada in 1921,<ref name=MoMA></ref> and issued a personal attack against Breton in the final issue of ''391'', in 1924. The same year, he appeared briefly in the [[René Clair]]  short film ''[[Entr'acte (film)|Entr'acte]]'', which would become one of the most famous [[surrealist]] films of the decade.<ref> {{cite web |url=https://www.moma.org/collection/works/305166 |title= René Clair: Entr'acte|publisher=[[Museum of Modern Art]] |access-date=7 August 2023}}</ref>