Editing Francis Picabia (section)

===Later years===
Reflecting on his break with Dada, Picabia wrote, "If you want to have clean ideas, change them like shirts."<ref name=MoMA></ref> His career would later be remembered in part for his wide range of artistic styles.<ref name=MoMA></ref><ref name=JSTOR></ref> In 1922, [[André Breton]] relaunched [[Littérature (magazine)|''Littérature'' magazine]] with cover images by Picabia, to whom he gave carte blanche for each issue. Picabia drew on religious imagery, [[erotic]] iconography, and the iconography of games of chance.<ref>Mark Polizzotti, Revolution of the Mind, (1995) pages 93–94, 160, 173, 196.</ref>

In 1925, Picabia returned to figurative painting, producing a series of dense, garish paintings known as his "Monster" period. These would later be an important influence on German painter [[Sigmar Polke]].<ref name=NYT2016></ref> From 1927 to 1930, Picabia produced his "Transparencies" series, paintings that combined images from [[High Renaissance]] art with figures from contemporary popular culture.<ref name=NYT2016></ref>

During the 1930s became a close friend of and received encouragement from the modernist novelist [[Gertrude Stein]],<ref>{{cite book |url=https://books.google.com/books?id=AXYMxAJkN3cC&dq=picabia+stein&pg=PA575 |title=The Language That Rises: 1923-1934 |last1=Dydo |first1=Ulla |last2=Rice |first2=William |date=2008 |publisher=Northwestern University Press |page=575 |isbn=978-0-8101-2526-1 |access-date=7 August 2023 |quote=}}</ref> painting a portrait of her in 1933.<ref>    {{cite web |url=https://npg.si.edu/exhibit/stein/pop-ups/01-07.html |title=Portrait of Gertrude Stein |last= |first= |date= |website= |publisher=[[National Portrait Gallery (United States)|National Portrait Gallery]] |access-date=7 August 2013 |quote=}}</ref> In 1940, he married Olga Mohler on 14 June, [[Paris in World War II|the same day that the Nazis seized Paris]]. Shortly after, he moved to [[Southern 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]]'',<ref>{{Cite journal |last=Verdier |first=Aurelie |date=2016 |title=[Sic] Picabia: Ego, Reaction, Reuse |journal=October |volume=157 |issue=157 |pages=63–89|doi=10.1162/OCTO_a_00259 }}</ref><ref>{{Cite book |last=Picabia |first=Francis |url=https://www.worldcat.org/oclc/40836420 |title=Francis Picabia : les nus et la méthode : 17 octobre 1997-3 janvier 1998. |date=1998 |publisher=Musée de Grenoble |others=Serge Lemoine, Musée de Grenoble |isbn=2-7118-3755-6 |location=[Grenoble] |oclc=40836420}}</ref>  in a garish style which appears to subvert traditional, academic nude painting. Some of these went to an Algerian merchant who sold them, and so it passed that Picabia came to decorate brothels across North Africa under the Occupation.{{citation needed|date=August 2023}}
[[File:Francis Picabia, Francis chante le Coq, 391, n. 14, November 1920.jpg|thumb|left|Francis Picabia, ''Francis chante le Coq'', [[391 (magazine)|391]], n. 14, Nov. 1920]]
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. Picabia died in Paris in 1953 and was interred in the [[Cimetière de Montmartre]].