Picabia

Francis Picabia
Edtaonisl: Ecclesiastic
1913
oil on canvas
Art Institute of Chicago

Francis Picabia
Entrance to New York
1913
watercolor on paper
Art Institute of Chicago

Francis Picabia
New York
1913
watercolor and gouache on paper
Art Institute of Chicago

Francis Picabia
The Child Carburetor
1919
oil and enamel on panel
Guggenheim Museum, New York

Francis Picabia
Prenez Garde à la Peinture
ca. 1919
oil and enamel on canvas
Moderna Museet, Stockholm

Francis Picabia
Untitled (Match Woman I)
1920
oil on canvas with found objects
Art Institute of Chicago

Francis Picabia
Toreador
1922-23
watercolor, crayon and graphite on paper
Art Institute of Chicago

Francis Picabia
Portrait of Arthur Craven
1923
watercolor and ink on paper
Museum Boijmans Van Beuningen, Rotterdam

Francis Picabia
Femmes Espagnoles
ca. 1925
gouache on board
Museum Boijmans Van Beuningen, Rotterdam

Francis Picabia
L'Acrobat
ca. 1925
watercolor, ink and collage on paper
Moderna Museet, Stockholm

Francis Picabia
Le Vent
1929
oil on canvas
Moderna Museet, Stockholm

Francis Picabia
Self Portrait
1929
gouache, crayon and ink on paper
Art Institute of Chicago

Francis Picabia
Woman looking at a Photograph
ca. 1930
colored pencil, ink and graphite on paper
Walker Art Center, Minneapolis

Francis Picabia
Youth with Jug
1935
oil on canvas
Musée d'Art Classique de Mougins

Francis Picabia
Portrait of a Doctor
ca. 1935-38
oil on canvas
Tate Modern, London

Francis Picabia
Spring
ca. 1937-43
oil on panel
Menil Collection, Houston

Francis Picabia
Danger de la Force
1947-50
oil on canvas
Museum Boijmans Van Beuningen, Rotterdam

To Pyrrha (the Fifth Ode)

Say what slim youth, with moist perfumes

        Bedaubed, now courts thy fond embrace,

There, where the frequent rose-tree blooms,

        And makes the grot so sweet a place?

Pyrrha, for whom with such an air

Do you bind back your golden hair?

So seeming in your cleanly vest,

        Whose plainness is the pink of taste –

Alas! how oft shall he protest

        Against his confidence misplac't,

And love's inconstant pow'rs deplore,

And wondrous winds, which, as they roar,

Throw black upon the altered scene –

        Who now so well himself deceives,

And thee all sunshine, all serene

        For want of better skill believes,

And for this pleasure has presaged

Thee ever dear and disengaged.

Wretched are all within thy snares,

        The inexperienced and the young!

For me the temple witness bears

        Where I my dropping weeds have hung,

And left my votive chart behind

To him that rules both wave and wind.

– Horace (65-8 BC), translated by Christopher Smart (1767)