Oil and mixed media on canvas; 65 by 52.2 cm. Francis Picabia was a French painter, illustrator, designer, writer, and editor, who was successively involved with the art movements Cubism, Dada, and Surrealism. He was the son of a Cuban diplomat father and a French mother. After studying at the École des Arts Décoratifs (1895–97), he painted for nearly six years in an Impressionist mode akin to that of Alfred Sisley. In 1909 he adopted a Cubist style, and, along with Marcel Duchamp, he helped found in 1911 the Section d’Or, a group of Cubist artists. Picabia went on to combine the Cubist style with its more lyrical variation known as Orphism in such paintings as I See Again in Memory My Dear Udnie (1913–14) and Edtaonisl (1913). In these early paintings he portrayed assemblages of closely fitted, metallic-looking abstract shapes. As Picabia moved away from Cubism to Orphism, his colors and shapes became softer. In 1915 Picabia traveled to New York City, where he, Duchamp, and Man Ray began to develop what became known as an American version of Dada, a nihilistic art movement that flourished in Europe and New York from 1915 to about 1922. In New York Picabia exhibited at Alfred Stieglitz’s gallery, 291, and contributed to the proto-Dadaist review 291. About 1916 he gave up the Cubist style completely and began to produce the images of satiric, machine like contrivances that are his chief contribution to Dadaism. The drawing Universal Prostitution (1916–19) and the painting Amorous Procession (1917) are typical of his Dadaist phase; their association of mechanistic forms with sexual allusions were successfully shocking satires of bourgeois values. In 1916 Picabia returned to Europe. He settled in Barcelona, where he published the first issues of his own satiric journal 391 (named in reference to the New York review). He subsequently joined Dadaist movements in Paris and Zürich. In 1921 he renounced Dada on the grounds that it was no longer vital and had lost its capacity to shock. In 1925 he left Paris to settle in the south of France, where he experimented with painting in various styles. He returned to live in Paris in 1945, and he spent the final years of his life painting in a mostly abstract mode. Picabia was notable for his inventiveness, adaptability, absurdist humor, and disconcerting changes of style.

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フランシス・ピカビアの「母なしで生まれた娘」（1917年）長年の愛読書「キーワードで聴くクラシック」で読んだ青柳いづみこさんのモーリス・ラヴェルの評論文で、その存在を初めて知った...。今日ネットで検索したら、新たな青柳いづみこさんのモーリス・ラヴェル評（音楽と文学──モーリス・ラヴェルとレーモン・ルーセルの場合）を見つけた...（そこにもやはり、ピカビアの「母なしで生まれた娘」のことが書いてある...）ダンナさんがごはんを作ってくださったので、後でリンク等貼りますフランシス・ピカビア母なしで生まれた娘

サティは、芸術家たちが集い自由な雰囲気をたたえるモンマルトルで作曲家としての活動を開始し、その後生涯を通じて芸術家との交流を続けた。第一次大戦中より大規模な舞台作品にも関与し、Pablo Picasso (パブロ・ピカソ) とはバレエ・リュスの公演《パラード》を、Francis Picabia (フランシス・ピカビア) とはスウェーデン・バレエ団の《本日休演》を成功させた。また一方で Andre Derain (アンドレ・ドラン)、Georges Braque (ジョルジュ・ブラック)、Constantin Brâncuşi (コンスタンティン・ブランクーシ)、マン・レイ (Man Ray)、そして数々のダダイストたちがサティとの交流から作品を生み出していった。

“恐竜の化石を舐めし黄砂かな #kigo #jhaiku →舐む（なむ） ＊Dinosaur / King Crimson https://t.co/sCgwXrvDDl ＊フランシス・ピカビア《オタイティ》1930年　テート”

CHICAGO — “Paintings are made for dentists.” So goes one of the many acerbic lines in artist Francis Picabia’s freewheeling poems.