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Francis Picabia: Our Heads Are Round so Our Thoughts Can Change Direction - The Museum of Modern Art
In past show

Centre Pompidou, Musée national d’art moderne – Centre de création industrielle, Paris.

Medium
Image rights
© 2016 Artist Rights Society (ARS), New York/ADAGP, Paris. Photo: © Centre Pompidou, MNAM-CCI/Georges Meguerdtchian/Dist. RMN–Grand …

During his early career, Francis Picabia painted in the Impressionist style and exhibited at the Paris salons. However, from 1908 on, elements of Fauvism and Neo-Impressionism, as well as Cubism and other modes of abstraction, would appear in his work; he later joined the Puteaux Group, of which Guillaume Apollinaire, Robert Delaunay, and Marcel Duchamp were members. The year 1915 marked the beginning of Picabia’s “machinist” period, during which he produced works inspired by industrial developments, such as Machine turn quickly (1916–18) and his satirical drawing Universal Prostitution (1916), which was intended to take a jab at bourgeois sexuality. While in Barcelona in 1917, Picabia launched a Dada periodical titled 391 after Alfred Stieglitz’s periodical 291, though he eventually denounced Dada and returned to figurative painting. In the ’40s, his practice took a surprising turn as he began to paint nudes in the style of French glamour magazines, as in Femmes au bull-dog (1942). Picabia was a close friend of the famous art collector and writer Gertrude Stein.

High auction record
$8.8m, Sotheby's, 2013
Collected by major museums
Tate, Museum of Modern Art (MoMA), Yale University Art Gallery
Selected exhibitions
2018
CubismCentre Pompidou
2016
This Is a Portrait If I Say So: Identity in American Art, 1912 to TodayBowdoin College Museum of Art
Francis Picabia: Our Heads Are Round so Our Thoughts Can Change DirectionThe Museum of Modern Art
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Udnie (Jeune fille américaine; danse) (Udnie [Young American Girl; Dance]), 1913

Oil on canvas
114 1/5 × 118 1/10 in
290 × 300 cm
Location
New York
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Centre Pompidou, Musée national d’art moderne – Centre de création industrielle, Paris.

Medium
Image rights
© 2016 Artist Rights Society (ARS), New York/ADAGP, Paris. Photo: © Centre Pompidou, MNAM-CCI/Georges Meguerdtchian/Dist. RMN–Grand …

During his early career, Francis Picabia painted in the Impressionist style and exhibited at the Paris salons. However, from 1908 on, elements of Fauvism and Neo-Impressionism, as well as Cubism and other modes of abstraction, would appear in his work; he later joined the Puteaux Group, of which Guillaume Apollinaire, Robert Delaunay, and Marcel Duchamp were members. The year 1915 marked the beginning of Picabia’s “machinist” period, during which he produced works inspired by industrial developments, such as Machine turn quickly (1916–18) and his satirical drawing Universal Prostitution (1916), which was intended to take a jab at bourgeois sexuality. While in Barcelona in 1917, Picabia launched a Dada periodical titled 391 after Alfred Stieglitz’s periodical 291, though he eventually denounced Dada and returned to figurative painting. In the ’40s, his practice took a surprising turn as he began to paint nudes in the style of French glamour magazines, as in Femmes au bull-dog (1942). Picabia was a close friend of the famous art collector and writer Gertrude Stein.

High auction record
$8.8m, Sotheby's, 2013
Collected by major museums
Tate, Museum of Modern Art (MoMA), Yale University Art Gallery
Selected exhibitions (3)
Other works from Francis Picabia: Our Heads Are Round so Our Thoughts Can Change Direction
Other works by Francis Picabia
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