Editing Francis Picabia

{{Short description|French painter and writer (1879–1953)}}
{{Use dmy dates|date=December 2024}}
{{Infobox artist
| name          = Francis Picabia
| image         = Francis Picabia, 1919, Danse de Saint-Guy, The Little Review, Picabia number, Autumn 1922.jpg
| caption       = Francis Picabia, 1919,<br />inside ''Danse de Saint-Guy''
| birth_name    = Francis-Marie Martinez Picabia
| birth_date    = {{birth date |1879|1|22|df=y}}
| birth_place   = Paris, France
| death_date    = {{death date and age |1953|11|30|1879|1|22|df=y}}
| death_place   = Paris, France
| field         = [[Painting]]
| training     =
| movement      = [[Cubism]], [[abstract art]], [[Dada]], [[Surrealism]]
| works         = ''Amorous Parade''
| patrons      =
| awards       =
| spouse       = [[Gabrièle Buffet-Picabia]]
}}

'''Francis Picabia''' ({{IPA|fr|fʁɑ̃sis pikabja|lang}}: born '''Francis-Marie Martinez de Picabia'''; 22{{nbsp}}January 1879 – 30{{nbsp}}November 1953) was a French [[avant-garde]] painter, writer, [[filmmaker]], magazine publisher, poet, and [[typography|typographist]] closely associated with [[Dada]].<ref>Oxford Dictionary of Modern and Contemporary Art, Oxford University, p. 552</ref>

When considering the many styles that Picabia painted in, observers have described his career as "shape-shifting"<ref name=JSTOR>    {{cite web |url=https://daily.jstor.org/francis-picabias-chameleonic-style/|title=Francis Picabia's Chameleonic Style |last=Lunday |first=Elizabeth |date=15 February 2017 |website= |publisher=[[JSTOR|JSTOR Daily]] |access-date=7 August 2023 |quote=}}</ref> or "kaleidoscopic".<ref name=MoMA></ref> After experimenting with [[Impressionism]] and [[Pointillism]], Picabia became associated with [[Cubism]]. His highly [[Abstract art|abstract]] planar compositions were colourful and rich in contrasts. He was one of the early major figures of the [[Dada]] movement in the United States and in France before denouncing it in 1921.<ref name=MoMA>{{cite web |url=https://www.moma.org/artists/4607 |title=Francis Picabia |last=Dupêcher |first=Natalie  |date=2016 |website= |publisher=[[Museum of Modern Art]] |access-date=7 August 2023 |quote=}}</ref> He was later briefly associated with [[Surrealism]], but would soon turn his back on the art establishment.<ref>{{Cite web |url=http://www.moma.org/collection/browse_results.php?criteria=O%3AAD%3AE%3A4607&page_number=1&template_id=6&sort_order=1&section_id=T067303#skipToContent |title=Marianne Heinz, Grove Art Online, MoMA, 2009 Oxford University Press |access-date=3 February 2014 |archive-date=14 May 2015 |archive-url=https://web.archive.org/web/20150514093339/http://www.moma.org/collection/browse_results.php?criteria=O%3AAD%3AE%3A4607&page_number=1&template_id=6&sort_order=1&section_id=T067303#skipToContent |url-status=dead }}</ref> 

==Early life==
[[File:Francis Picabia, 1912, La Source, The Spring, oil on canvas, 249.6 x 249.3 cm, Museum of Modern Art, New York. Exhibited, 1912 Salon d'Automne, Paris.jpg|thumb|left|Francis Picabia, 1912, ''[[The Spring|La Source]]'' (''The Spring''), oil on canvas, 249.6 × 249.3&nbsp;cm, [[Museum of Modern Art]], New{{nbsp}}York. Exhibited at the 1912 Salon d'Automne, Paris]]
Francis Picabia was born in Paris of a French mother and a Cuban father of Spanish descent. Some sources would have his father as of aristocratic Spanish descent, whereas others consider him of non-aristocratic Spanish descent, from the region of [[Galicia (Spain)|Galicia]].<ref>{{citation | title= Picabia, ¿pintor cubano? | author= Javier de Castromori | publisher= La Voz de Galicia from 3 May 2004 quoted on www.penultimosdias.com | date= 28 September 2008 | url=http://www.penultimosdias.com/2008/09/27/picabia-%C2%BFcubano/ | access-date=26 January 2010}}</ref>  His birth year of 1879 coincided with the Spanish-Cuban [[Little War (Cuba)|Little War]]; and though Picabia was born in Paris, his father was involved in Cuban-French relations and would later serve as attaché at the Cuban legation in Paris (see the [[Treaty of Paris (1898)|Treaty of 1898]]). The family ties to Cuba would be important in Picabia's life later on.

The family was affluent, and both parents encouraged Picabia to pursue an art career.<ref name=NYT2016>{{cite web |url=https://www.nytimes.com/2016/11/18/arts/design/francis-picabia-the-playboy-prankster-of-moderism.html |title=Francis Picabia, the Playboy Prankster of Modernism |last=Smith |first=Roberta |date=17 November 2016 |website=[[The New York Times]] |publisher= |access-date=7 August 2023 |quote=}}</ref> Picabia's mother died of [[tuberculosis]] when he was five, and he was raised by his father.<ref name=NYT2002>{{cite web |url=https://www.nytimes.com/2002/12/21/style/IHT-francis-picabia-awful-artist-and-provocateur-of-genius.html |title=Francis Picabia, awful artist and provocateur of genius |last=Gibson |first=Michael |date=21 December 2002 |website=[[The New York Times]] |publisher= |access-date=7 August 2023 |quote=}}</ref>

Picabia's artistic ability was apparent from his youth. In 1894, he copied a collection of Spanish paintings that belonged to his grandfather, switching the copies for the originals and selling the originals to finance his stamp collection.<ref name="Batterberry">
{{cite book|last=Batterberry|first=Michael|title=Twentieth Century Art|year=1973|series=Discovering Art Series|page=151|publisher=McGraw-Hill Book Company|location=New York}}</ref> A lifelong philanderer,<ref name=JSTOR></ref> Picabia eloped to Switzerland in 1897 with one of his mistresses, causing his father to briefly cut off contact with him.<ref name=NYT2002></ref>

==Art career==
[[File:Francis Picabia - Caoutchouc.jpg|thumb|Francis Picabia, {{Circa|1909}}, ''[[Caoutchouc (Picabia)|Caoutchouc]]'', [[Centre Pompidou]], [[Musée National d'Art Moderne]]]]
During the late 1890s, Picabia began to study art under [[Fernand Cormon]] and others at [[École nationale supérieure des arts décoratifs|École des Arts Decoratifs]], Cormon's academy at 104 boulevard de Clichy, where [[Vincent van Gogh|Van Gogh]] and [[Toulouse-Lautrec]] had also studied. He studied under Fernand Cormon, Ferdinand Humbert, and Albert Charles Wallet for two years.<ref>{{cite web|title=Francis Picabia|access-date=5 August 2022|url=https://www.theartstory.org/artist/picabia-francis/ }}</ref> From the age of twenty, Picabia lived by painting. Subsequently, he inherited money from his mother, leaving him far wealthier than most of his contemporaries in the art world. He began buying at least one new sports car each year,<ref name=JSTOR></ref> and ultimately owned 127 over the course of his life.<ref name=NYT2002></ref>

Early in his career, from 1903 to 1908, Picabia was influenced by the [[Impressionism|Impressionist]] paintings of [[Alfred Sisley]]. His subject matter included small churches, lanes, roofs of Paris, riverbanks, wash houses, and barges. This led critics to question his originality, saying that he copied Sisley, that his cathedrals looked like [[Claude Monet|Monet]] cathedrals, or that he painted like [[Paul Signac|Signac]].<ref>{{cite web |url=http://www.picabia.com/biograph/bio_ev_p1.htm |title=Francis Picabia Official Website- Biography |access-date=15 June 2009 |url-status=dead |archive-url=https://web.archive.org/web/20090806063459/http://www.picabia.com/biograph/bio_ev_p1.htm |archive-date=6 August 2009 }} online biography, retrieved 15 June 2009</ref> He soon came to feel he was working in an outdated style and began to look for a new approach.<ref name=JSTOR></ref>

From 1909, his style changed as he came under the influence of a group of artists soon to be called [[Cubism|Cubists]]. These artists would later form the [[Section d'Or|Golden Section]] (Section d'Or). The same year, Picabia married [[Gabrièle Buffet-Picabia|Gabrielle Buffet]]. (They would divorce in 1930.)
[[File:Salon d'Automne 1912, Paris, works exhibited by Kupka, Modigliani, Csaky, Picabia, Metzinger, Le Fauconnier.jpg|thumb|upright=1.70|Salon d'Automne, Grand Palais des Champs-Élysées, Paris, ''Salle XI'', between 1 October and 8 November 1912. [[Joseph Csaky]] (''[[Groupe de femmes]]'', sculpture front the left); [[Amedeo Modigliani]] (sculptures behind that of Csaky); paintings by [[František Kupka]] (''Amorpha, Fugue in Two Colors''); Francis Picabia (''[[The Spring]]''); [[Jean Metzinger]] (''[[Dancer in a café]]''); and [[Henri Le Fauconnier]] (''Mountaineers Attacked by Bears'')]]

[[File:Francis Picabia, 1913, Udnie (Young American Girl, The Dance), oil on canvas, 290 x 300 cm, Musée National d’Art Moderne, Centre Georges Pompidou, Paris..jpg|thumb|Francis Picabia, 1913, ''Udnie (Young American Girl, The Dance)'', oil on canvas, 290 × 300 cm, [[Musée National d'Art Moderne]], [[Centre Georges Pompidou]], Paris]]
 
Around 1911 Picabia joined the [[Puteaux Group]], whose members he had met at the studio of [[Jacques Villon]] in [[Puteaux]], a commune in the western suburbs of Paris. 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]].

[[File:Francis Picabia paintings published in New York Tribune, 9 March 1913.jpg|thumb|Picabia paintings published in the ''New York Tribune'', 9{{nbsp}}March 1913]]

===Proto-Dada===
In 1913, the Association of American Painters and Sculptors held the first major show of [[modernist art]] in New York City, which would become known as the [[Armory Show]]. The wealthy Picabia was the only member of the Cubist group to personally attend the Armory Show, as the others could not afford to do so, and he also contributed four paintings.<ref name=JSTOR></ref> The American press was largely hostile to the show, describing it as bizarre or deviant, but Picabia was widely interviewed and discussed as the only representative of the movement available. He immediately became a major name in New York's artistic circles.<ref name=JSTOR></ref> 

Avant-garde art dealer [[Alfred Stieglitz]] also gave Picabia a [[Solo show (art exhibition)|solo show]], ''Exhibition of New York studies by Francis Picabia'', at his [[291 (Art Gallery)|gallery 291]] (formerly ''Little Galleries of the Photo-Secession''), 17 March – 5 April 1913.<ref name=JSTOR></ref> There, Picabia displayed work that he had created in the past few months in New York. Influenced by [[abstract art]] from the Armory Show such as that of [[Wassily Kandinsky]], he was now creating abstract works of his own. When he returned to Paris in April 1913, he formally broke with the Cubists.<ref name=JSTOR></ref>

From 1913 to 1915 Picabia traveled to New York City several times. During that same era, France became embroiled in [[French entry into World War I|war]]. In 1915, Picabia again traveled to the United States en route to Cuba to buy molasses for a friend of his—the director of a sugar refinery. He landed in New{{nbsp}}York in June 1915. Though the stopover was ostensibly meant to be a simple port of call, he decided to remain there for a while to continue working on his art.<ref name=JSTOR></ref> He did not return to France until the war's conclusion.<ref name=JSTOR></ref>

[[File:Francis Picabia, 1915, New York..jpg|thumb|250px|(Left) ''Le saint des saints c'est de moi qu'il s'agit dans ce portrait'', 1{{nbsp}}July 1915; (center) ''Portrait d'une jeune fille américaine dans l'état de nudité'', 5{{nbsp}}July 1915: (right) ''J'ai vu et c'est de toi qu'il s'agit, De Zayas! De Zayas! Je suis venu sur les rivages du Pont-Euxin'', New{{nbsp}}York, 1915]]

The following years can be characterized as Picabia's [[dada|proto-Dada]] or "machinist" period, consisting mainly of his ''portraits mécaniques''.<ref name=Camfield>Camfield, William A. “The Machinist Style of Francis Picabia.” The Art Bulletin, vol. 48, no. 3/4, 1966, pp. 309–22. JSTOR, https://doi.org/10.2307/3048388. Accessed 7 August 2023.</ref> Picabia was first impressed by mechanical advances on his initial, 1913 visit to New York, and on returning to Europe, he was impressed by futurist painters such as [[Natalia Goncharova]] and [[Mikhail Larionov]]. Picabia was particularly influenced by the "machine style" of [[Marcel Duchamp]], in which the artist used materials such as metal and glass as well as mechanical drawing implements.<ref name=Camfield></ref> In 1915, Picabia began to create and exhibit his own drawings and prints of mysterious machines and apparatuses to reflect the coming of the [[Machine Age]]. He continued in this style for almost a decade, exhibiting a large solo show of his machinist work in 1922. In 1923, he abruptly discontinued his work in the style, as he had with several previous styles.<ref name=Camfield></ref> 

In this period, the magazine ''[[291 (magazine)|291]]'' devoted an entire issue to him, he met [[Man Ray]], Gabrielle and Duchamp joined him, drugs and alcohol became a problem and his health declined. He suffered from [[Edema|dropsy]] and [[tachycardia]].<ref>Paris Match No 2791</ref>

===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>

===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]].

==Personal life==
He was married in 1909 to [[Gabrièle Buffet-Picabia]], a French art critic and writer affiliated with Dadaism and later an organizer of the French resistance. They had four children. They divorced in 1930. Their tumultuous union is re-imagined by great-granddaughter [[Anne Berest]] in ''The Postcard'', a semi-autobiographical French novel published in 2021.<ref>    {{cite web |url=https://www.nytimes.com/2023/05/16/books/review/anne-berest-the-postcard.html |title=An Autobiographical Novel Reclaims a Jewish History in Occupied France |last=Orringer |first=Julie |date=16 May 2023 |website=[[The New York Times]] |publisher= |access-date=28 August 2023 |quote=}}</ref>

==Legacy==
Public collections holding works by Picabia include the [[Museum of Modern Art]] and [[Solomon R. Guggenheim Museum]] in [[New York City|New York]]; the [[Philadelphia Museum of Art]]; the [[Art Institute of Chicago]]; the [[Tate Gallery]], London and the [[Musée National d'Art Moderne]], Paris.

In the mid-1980s two of Picabia's Dada writings, ''Who Knows'' and ''Yes No'' were published in English by [[Hanuman Books]] and in 2007 [[MIT Press]] published a large book of his poetry and other writings in English called ''I Am a Beautiful Monster: Poetry, Prose, and Provocation'' that was translated by Marc Lowenthal.

A major retrospective of Picabia's work in the United States was held in 2016 at [[Kunsthaus Zürich]] and then from 2016 to 2017 at the Museum of Modern Art, New York.<ref>English Press release to be found under http://www.kunsthaus.ch/fileadmin/templates/kunsthaus/pdf/medienmitteilungen/2016/mm2_picabia_e.pdf {{Webarchive|url=https://web.archive.org/web/20170119051507/http://www.kunsthaus.ch/fileadmin/templates/kunsthaus/pdf/medienmitteilungen/2016/mm2_picabia_e.pdf |date=19 January 2017 }}</ref> The retrospective was widely discussed by international art critics such as Philippe Dagen from ''[[Le Monde]]''.<ref>{{Cite news | url=https://www.lemonde.fr/culture/article/2016/07/09/francis-picabia-la-peinture-a-vive-allure_4966835_3246.html | title=Francis Picabia, la peinture à vive allure | newspaper=Le Monde.fr | date=9 July 2016 }}</ref>

Among the artists influenced by Picabia's work are the American artists [[David Salle]] and [[Julian Schnabel]], the German artist [[Sigmar Polke]], and the Italian artist [[Francesco Clemente]].<ref>{{cite web |last=ARTnews |date=7 October 2016 |title=Then and Now: Picabia, Grasshopper of Modern Art |url=http://www.artnews.com/2016/10/07/then-and-now-picabia-grasshopper-of-modern-art/ |access-date=21 March 2018 |website=ARTnews}}</ref><ref>{{Cite web | url=http://ropac.net/exhibition/david-salle-francis-picabia | title=David Salle &#124; David Salle / Francis Picabia }}</ref><ref>{{cite news|url=https://www.nytimes.com/1989/04/28/arts/review-art-picabia-s-transparences-layers-of-many-meanings.html|title=Review/Art; Picabia's 'Transparences': Layers of Many Meanings|first=Michael|last=Kimmelman|website=[[The New York Times]]| date=28 April 1989 |access-date=21 March 2018}}</ref><ref>{{cite news|url=https://www.nytimes.com/1990/12/23/arts/art-view-what-is-sigmar-polke-laughing-about.html?pagewanted=all|title=ART VIEW; What Is Sigmar Polke Laughing About?|first=Michael|last=Kimmelman|website=[[The New York Times]]| date=23 December 1990 |access-date=21 March 2018}}</ref> In 1996, French artist [[Jean-Jacques Lebel]] initiated and co-curated the exhibition ''Picabia, Dalmau 1922'' (with reference to Picabia's solo exhibition at [[Galeries Dalmau]] in 1922) shown at [[Fundació Antoni Tàpies]] in Barcelona and the [[Musée National d'Art Moderne]], [[Centre Pompidou]]. In 2002, the artists [[Peter Fischli & David Weiss]] installed [[Suzanne Pagé]]'s retrospective devoted to Picabia at the [[musée d'art moderne de la ville de Paris]] (MAMVP). 

In 2003, a Picabia painting once owned by [[André Breton]] sold for US$1.6{{nbsp}}million.<ref>{{cite news|url=http://news.bbc.co.uk/1/hi/entertainment/arts/2959029.stm|title=Surrealist sale smashes records|date=18 April 2003|access-date=21 March 2018|via=news.bbc.co.uk}}</ref> Picabia's ''Volucelle II'' ({{circa|1922}}) sold for
US$8,789,000 at [[Sotheby's]] in 2013, then the highest price for one of the artist's works.<ref name=AN22></ref><ref>[http://www.sothebys.com/en/auctions/ecatalogue/2013/impressionist-modern-art-evening-sale-n09035/lot.11.html Francis Picabia, ''Volucelle II'', {{Circa|1922}}, Ripolin on canvas, 198,5 x 249 cm], US$8,789,000. Sotheby's, Impressionist & Modern Art Evening Sale, New York, Wednesday, 6 November 2013</ref> A new record was set in 2022 with the sale of ''Pavonia'' at Sotheby's for US$11{{nbsp}}million.<ref name=AN22>    {{cite web |url=https://www.artnews.com/art-news/market/picabia-record-sothebys-surrealism-sale-1234622125/ |title=Record-Breaking Picabia Painting Brings Sotheby's Surrealism Sale to $37 M |last=Villa |first=Angelica |date=17 March 2022 |website=ARTnews |publisher= |access-date=7 August 2023 |quote=}}</ref>

==Gallery==
{{main|List of works by Francis Picabia}}
<gallery widths="170px" heights="170px">
File:Francis Picabia.jpg|Francis Picabia in his studio {{circa|1912}}
File:Francis Picabia, 1911, Horses, oil on canvas, 73.3 x 92.5 cm, Musée National d'Art Moderne, Centre Georges Pompidou, Paris.jpg|''Horses'', 1911, oil on canvas, 73.3 x 92.5&nbsp;cm, [[Musée National d'Art Moderne]], [[Centre Georges Pompidou]], Paris. [http://www.aaa.si.edu/collections/viewer/walt-kuhn-scrapbook-press-clippings-documenting-armory-show-vol-1-6227 Published in the New York Times, New York, 16 February 1913, Page 121]
File:Francis Picabia, 1911-12 - Paysage à Cassis.jpg|''Paysage à Cassis'' (''Landscape at Cassis''), 1911–12, oil on canvas, 50.3 × 61.5&nbsp;cm, private collection
File:Francis Picabia, 1912, Tarentelle, oil on canvas, 73.6 x 92.1 cm, Museum of Modern Art, New York.jpg|''Tarentelle'', 1912, oil on canvas, 73.6 x 92.1&nbsp;cm, [[Museum of Modern Art]], New York. Reproduced in ''[[Du "Cubisme"]]'' by [[Albert Gleizes]] and [[Jean Metzinger]], published in 1912
File:Francis Picabia, 1912, The Procession, Seville, oil on canvas, 121.9 x 121.9 cm, National Gallery of Art, Washington DC.jpg|''The Procession, Seville'', 1912, oil on canvas, 121.9 x 121.9&nbsp;cm, [[National Gallery of Art]], Washington DC.
File:Francis Picabia, The Dance at the Spring, 1912, oil on canvas, Philadelphia Museum of Art.jpg|''The Dance at the Spring'', 1912, oil on canvas, 120.5 x 120.6&nbsp;cm, [[Philadelphia Museum of Art]]. Exhibited at the 1913 [[Armory Show]]
File:Francis Picabia, 1913, Edtaonisl (Ecclesiastic), oil on canvas, 300.4 x 300.7 cm, Art Institute of Chicago.jpg|''Edtaonisl'' (''Ecclesiastic''), 1913, oil on canvas, 300.4 x 300.7&nbsp;cm, [[Art Institute of Chicago]]
File:Francis Picabia, 1913, Catch as Catch Can, oil on canvas, 100.6 x 81.6 cm, Philadelphia Museum of Art.jpg|''Catch as Catch Can'', 1913, oil on canvas, 100.6 x 81.6&nbsp;cm, [[Philadelphia Museum of Art]]
File:Picabia starDancer.jpg|''Star Dancer on a Transatlantic Steamer'', 1913
File:Francis Picabia, 1913-14, Force Comique, aquarelle et graphite sur papier, 63.4 x 52.7 cm, Berkshire Museum.jpg|''Force Comique'', 1913–14, watercolor and graphite on paper, 63.4 x 52.7&nbsp;cm, [[Berkshire Museum]], Pittsfield, MA
File:Francis Picabia, Ici, c'est ici Stieglitz, foi et amour, cover of 291, No1, 1915.jpg|''Ici, c'est ici [[Alfred Stieglitz|Stieglitz]], foi et amour'', cover of [[291 (magazine)|291]], No1, 1915
File:Francis Picabia, 1915, Fille née sans mère (Girl Born Without a Mother), work on paper, 47.4 x 31.7 cm, Musée d'Orsay.jpg|''Fille née sans mère'' (''Girl Born Without a Mother''), 1915, work on paper, 47.4 x 31.7&nbsp;cm, [[Musée d'Orsay]]
File:Francis Picabia, 1915, Voilà Haviland (la poésie est comme lui).jpg|''Voilà Haviland'' (''La poésie est comme lui''), Portrait mécanomorphe de [[Paul Haviland|Paul B. Haviland]], 1915, Musée d'Orsay
File:Francis Picabia, 1916-17, Prostitution Universelle (Universal Prostitution), black ink, tempera, metallic paint on cardboard, 74.5 x 94.2 cm, Yale University Art Gallery.tif|''Prostitution Universelle'' (''Universal Prostitution''), 1916–17, black ink, tempera, metallic paint on cardboard, 74.5 x 94.2&nbsp;cm, [[Yale University Art Gallery]]
File:Francis Picabia, 1919, Réveil Matin (Alarm Clock), ink on paper, 31.8 x 23 cm, Tate, London.jpg|''Réveil Matin'' (''Alarm Clock''), 1919, ink on paper, 31.8 x 23&nbsp;cm, Tate, London
File:Francis Picabia, Dada Movement, Dada, Number 5, 15 May 1919.jpg|''Dada Movement'', Dada, Number 5, 15 May 1919
File:Francis Picabia, 1920, Portrait of Cézanne, Portrait of Renoir, Portrait of Rembrandt.jpg|''Portrait of Cézanne, Portrait of Renoir, Portrait of Rembrandt'', 1920, Toy monkey and oil on cardboard, 39.4 x 55&nbsp;cm, Reproduced in Cannibale, Paris, n. 1, April 25, 1920
File:Francis Picabia, 1920, La Sainte Vierge (The Blessed Virgin), ink and graphite on paper, 33 x 24 cm, Musée National d'Art Moderne, Paris.jpg|''La Sainte Vierge'' (''The Blessed Virgin''), 1920, ink and graphite on paper, 33 x 24&nbsp;cm, [[Musée National d'Art Moderne]], Paris
File:Francis Picabia, 1921, L'oeil cacodylate, oil and collage on canvas, 148.6 x 117.4 cm, Musée National d'Art Moderne.jpg|Francis Picabia, 1921, ''L'oeil cacodylate'', oil and collage on canvas, 148.6 x 117.4{{nbsp}}cm, [[Musée National d'Art Moderne]], Paris
File:Francis Picabia, 1922c - Optophone.jpg|''Optophone I'', c. 1921–22, ink, acrylic, and graphite on paper, 72 x 60&nbsp;cm. Reproduced in Galeries Dalmau, ''Picabia'', exhibition catalogue, Barcelona, Nov. 18 - Dec. 8, 1922
File:Espagnole et agneau de l'Apocalypse.png|''Espagnole et agneau de l'apocalypse'', c. 1927–28, gouache, watercolour and brush and ink on paper, 65 × 50&nbsp;cm, private collection
File:Picabia Hera 2.JPG|''Hera'', c. 1929, oil on cardboard, 105 × 75&nbsp;cm, private collection
File:Francis Picabia - Transparence.jpg|''Transparence - Sphinx'', 1929, oil on canvas, 131 × 163&nbsp;cm, [[Centre Georges Pompidou]]
</gallery>

==See also==
* [[Dadaglobe]]
* [[Anti-art]]

==References==
{{reflist|30em}}

==Bibliography==
* Allan, Kenneth R. “Metamorphosis in ''391'': A Cryptographic Collaboration by Francis Picabia, Man Ray, and Erik Satie.” ''Art History'' 34, No. 1 (February 2011): 102–125.
* Baker, George. ''The Artwork Caught by the Tail: Francis Picabia and Dada in Paris''. Cambridge, MA: MIT Press, 2007. ({{ISBN|978-0-262-02618-5}})
* Borràs, Maria Lluïsa. ''Picabia''. Trans. Kenneth Lyons. New York: Rizzoli, 1985.
* Calté, Beverly and Arnauld Pierre. ''Francis Picabia.'' Tokyo: APT International, 1999.
* Camfield, William. ''Francis Picabia: His Art, Life and Times''. Princeton: Princeton University Press, 1979.
* Hopkins, David. “Questioning Dada’s Potency: Picabia’s ‘La Sainte Vierge’ and the Dialogue with Duchamp.” ''Art History'' 15, No. 3 (September 1992): 317–333.
* Legge, Elizabeth. “Thirteen Ways of Looking at a Virgin: Francis Picabia’s La Sainte Vierge.” ''Word & Image'' 12, No. 2 (April–June 1996): 218–242.
* Page, Suzanne, William Camfield, Annie Le Brun, Emmanuelle de l’Ecotais, ''et al.'', ''Francis Picabia: Singulier ideal''. Paris: Musée d’Art moderne de la Ville de Paris, 2002.
* Picabia, Francis. ''I Am a Beautiful Monster: Poetry Prose, and Provocation.'' Trans. Marc Lowenthal, Cambridge, MA: MIT Press, 2007. ({{ISBN|978-0-262-16243-2}})
* Pierre, Arnauld. ''Francis Picabia: La peinture sans aura.'' Paris: Gallimard, 2002.
* Wilson, Sarah. "Francis Picabia: Accommodations of Desire – Transparencies 1924–1932." New York: [[Kent Fine Art]], 1989. ({{ISBN|1-878607-04-9}})

==External links ==
{{commons}}
{{Wikiquote}}
* [http://www.thegreatcat.org/the-cat-in-art-and-photos-2/cats-in-art-20th-century/francis-picabia-1879-1953-french/ Picabia's Cats]
* [https://web.archive.org/web/20070823023839/http://www.comite-picabia.com/ Comité Picabia]; the organization developing a catalogue raisonné of the artist
* [https://web.archive.org/web/20150706204338/http://www.cgfaonlineartmuseum.com/p/p-14.htm#picabia Picabia images at CGFA]
* Scans of Picabia's publication, [http://sdrc.lib.uiowa.edu/dada/391/index.htm ''391'']
* [http://www.moma.org/collection/browse_results.php?object_id=35993''Dada Movement''] in the MoMA Online Collection
*[https://web.archive.org/web/20141027214045/http://www.fundaciotapies.org/site/spip.php?rubrique465 Francis Picabia. Machines and Spanish Women] Exhibition at Fundació Antoni Tàpies
*[https://moma.org/d/pdfs/W1siZiIsIjIwMTcvMDMvMjcvN2p5aWRhdmc1OF9GcmFuY2lzX1BpY2FiaWFfTWF0ZXJpYWxzX2FuZF9UZWNobmlxdWVzLnBkZiJdXQ/Francis%20Picabia%20%E2%80%93%20Materials%20and%20Techniques.pdf?sha=dbb92e9778da07ef ''Francis Picabia: Materials and Techniques'']; publication of the MoMA

{{Francis Picabia|state=expanded}}
{{Dada}}
{{Authority control (arts)}}

{{DEFAULTSORT:Picabia, Francis}}
[[Category:Francis Picabia]]
[[Category:1879 births]]
[[Category:1953 deaths]]
[[Category:19th-century French painters]]
[[Category:20th-century French painters]]
[[Category:20th-century French male artists]]
[[Category:French abstract painters]]
[[Category:École nationale supérieure des arts décoratifs alumni]]
[[Category:Burials at Montmartre Cemetery]]
[[Category:French collage artists]]
[[Category:French cubist artists]]
[[Category:Dada]]
[[Category:French male painters]]
[[Category:French people of Cuban descent]]
[[Category:French people of Spanish descent]]
[[Category:Orphism (art)]]
[[Category:Dadaists]]
[[Category:20th-century French artists]]
[[Category:19th-century French male artists]]