Francis Picabia Isee Again in Memory My Dear Udnie
Francis Picabia I See Again in Memory My Dear Udnie Paris, June - July 1914
Around 1914 Picabia began to pilfer words and phrases from the encyclopedic Petit Larousse lexicon for apply in his own works. He based this painting's title on a line from Virgil'southward Aeneid from that source—"Dying, he saw again in memory his dearest Argos"—substituting "Udnie," a name of Picabia'southward own invention. The creative person associated the name with his memories of French dancer Stacia Napierkowska rehearsing onboard during his transatlantic journey to New York in 1913. "Udnie" is likewise an anagram of the last name of French musicologist Jean d'Udine, whose theory of synesthesia (published in 1910) linked painting with music and trip the light fantastic toe through the concept of rhythm.
In this large painting, rhythm is intimated via a serial of repeated, interpenetrating pistons and orifices, fusing the mechanical with the biological. The piece of work illustrates Picabia's predilection for machines, which intensified during his 1913 visit to New York. Equally one reviewer noted that twelvemonth, "Picabia . . . admits to having put all quondam things behind him and to having grasped the genius of American machinery as the new medium through which his fine art may be expressed." The painting'due south conflation of mechanized movements with erotic bodily forms, forth with its half-stolen title, exemplifies the irreverent approach that made Picabia a central effigy in the Dada movement during the World War I years.
Publication excerpt from MoMA Highlights: 375 Works from The Museum of Modern Art, New York (New York: The Museum of Modernistic Art, 2019)
When Picabia painted this piece of work, in Paris in 1914, he had recently returned from a trip to New York. Aboard the steamship that had taken him in that location, Picabia had been absorbed by the movement of Stacia Napierkowska, a Polish dancer en route to a tour of American music halls. Over the next two years, Picabia produced several monumental canvases that he said were inspired by his memories of Napierkowska, and also, he said, "of America, evocations from there which, subtly opposed like musical harmonies, become representative of an idea, of a nostalgia, of a fugitive impression." In this painting, rather than representing the dancer herself, Picabia creates a visual analogy for the lingering sensation of this sensuous run across: segmented tubes and crimper organic forms fill up the vertical axis of the sail in a slow upwards spiral.
Gallery characterization from Inventing Abstraction, 1910–1925, Dec 23, 2012–April xv, 2013.
Around 1914, Picabia began to pilfer words and phrases from the encyclopedic French dictionary Petit Larousse for apply in his ain works. He based this painting'due south title on a line from Virgil'southward Aeneid published in that source—"Dying, he saw over again in retention his dear Argos"—but substituted "Udnie," a name of his ain invention. Picabia associated "Udnie" with memories of watching the dancer Stacia Napierkowska, whose suggestive performances subsequently provoked her arrest, rehearse onboard during his transatlantic journey to New York in 1913. "Udnie" is also an anagram of the last name of Jean d'Udine, whose theory of synesthesia (published in 1910) linked painting with music and trip the light fantastic through the concept of
rhythm. In this painting, rhythm is intimated via a series of repeated, interpenetrating pistons and quasi-visceral orifices, fusing the mechanical with the biological.
Gallery label from Francis Picabia: Our Heads are Round so Our Thoughts Can Alter Direction, 2016.
- Medium
- Oil on canvas
- Dimensions
- eight' 2 1/2" ten six' 6 1/4" (250.2 ten 198.viii cm)
- Credit
- Hillman Periodicals Fund
- Object number
- 4.1954
- Copyright
- © 2022 Artists Rights Society (ARS), New York / ADAGP, Paris
- Department
- Painting and Sculpture
Nosotros have identified these works in the following photos from our exhibition history.
-
XXVth Anniversary Exhibition: Paintings from the Museum Collection
Oct 19, 1954–Feb 6, 1955
1 other work identified
-
Art in a Changing World: 1884–1964: Painting and Sculpture from the Museum Drove
May 27, 1964
-
Jasper Johns: Map
Oct 6, 1971–Feb 13, 1972
-
Permanent Collection
Mar 29, 1972–Apr 21, 1980
1 other piece of work identified
-
Permanent Collection
Mar 29, 1972–Apr 21, 1980
1 other work identified
-
Selections from the Permanent Collection: Painting and Sculpture
May 17, 1984–Aug 4, 1992
2 other works identified
-
Selections from the Permanent Drove: Painting and Sculpture
May 17, 1984–Aug iv, 1992
1 other work identified
-
Selections from the Permanent Collection: Painting and Sculpture
May 17, 1984–Aug iv, 1992
iii other works identified
-
Selections From The Drove (1992)
Sep nine, 1992–Feb 21, 1993
-
MoMA2000, ModernStarts: People, Composing with the Figure
Oct 7, 1999–Feb 1, 2000
1 other piece of work identified
-
MoMA2000, ModernStarts: People, Composing with the Figure
Oct seven, 1999–Feb i, 2000
i other piece of work identified
-
Sturtevant: Double Problem
Nov 9, 2014–February 22, 2015
1 other work identified
-
Sturtevant: Double Problem
Nov nine, 2014–Feb 22, 2015
-
Francis Picabia: Our Heads Are Round and then Our Thoughts Can Change Direction
November 21, 2016–Mar 19, 2017
1 other work identified
-
Francis Picabia: Our Heads Are Round and so Our Thoughts Can Change Management
Nov 21, 2016–Mar xix, 2017
one other piece of work identified
-
Francis Picabia: Our Heads Are Circular so Our Thoughts Can Change Direction
Nov 21, 2016–Mar 19, 2017
-
508: Readymade in Paris and New York
Fall 2019–Autumn 2020
2 other works identified
-
508: Readymade in Paris and New York
Fall 2019–Fall 2020
x other works identified
-
508: Readymade in Paris and New York
Fall 2019–Fall 2020
3 other works identified
-
508: Readymade in Paris and New York
Autumn 2019–Autumn 2020
9 other works identified
-
508: Readymade in Paris and New York
Autumn 2019–Fall 2020
3 other works identified
-
508: Readymade in Paris and New York
Autumn 2019–Fall 2020
2 other works identified
-
508: According to the Laws of Gamble
Ongoing
eight other works identified
-
508: According to the Laws of Chance
Ongoing
1 other work identified
In 2018–xix, MoMA collaborated with Google Arts & Culture Lab on a project using machine learning to identify artworks in installation photos. That project has concluded, and works are now being identified by MoMA staff.
If you lot discover an error, please contact us at [electronic mail protected].
This work is included in the Provenance Research Projection, which investigates the ownership history of works in MoMA'southward collection.
1913/14 - at least 1930, Francis Picabia, Paris.1930 (?) - 1947, Galerie L'Try Moderne/ Léonce Rosenberg (1879-1947), Paris.
1947 - ?, Léonce Rosenberg Manor, Paris.
? - 1954, Sidney Janis Gallery, New York, purchased from the Léonce Rosenberg Estate.
1954, The Museum of Modern Art, New York, purchased from Sidney Janis Gallery, New York.
Provenance inquiry is a piece of work in progress, and is frequently updated with new information. If you have any questions or information to provide about the listed works, please e-mail [e-mail protected] or write to:
Provenance Research Project
The Museum of Mod Art
xi W 53 Street
New York, NY 10019
If yous would like to reproduce an image of a piece of work of art in MoMA'south collection, or an image of a MoMA publication or archival material (including installation views, checklists, and press releases), delight contact Fine art Resource (publication in Northward America) or Scala Archives (publication in all other geographic locations).
MoMA licenses archival audio and select out of copyright picture clips from our film drove. At this fourth dimension, MoMA produced video cannot be licensed by MoMA/Scala. All requests to license archival sound or out of copyright pic clips should be addressed to Scala Athenaeum at [email protected]. Movement picture film stills cannot exist licensed past MoMA/Scala. For access to move picture film stills for research purposes, please contact the Motion-picture show Study Center at [electronic mail protected]. For more than information about picture show loans and our Circulating Moving-picture show and Video Library, please visit https://www.moma.org/inquiry-and-learning/circulating-motion-picture show.
If you would like to reproduce text from a MoMA publication, please email [electronic mail protected]. If yous would like to publish text from MoMA'southward archival materials, please fill out this permission form and send to [email protected].
This tape is a work in progress. If you lot have additional information or spotted an mistake, delight ship feedback to [email protected].
Source: https://www.moma.org/collection/works/78348
0 Response to "Francis Picabia Isee Again in Memory My Dear Udnie"
Post a Comment