{[{}]} product products
There are no products in your cart!
{[{ item.product_title }]}
{[{ item.variant_title }]}
{[{ item.price }]}
{[{ item.original_price }]}
{[{ }]}
Udnie by Francis PicabiaUdnie by Francis PicabiaUdnie by Francis PicabiaUdnie by Francis PicabiaUdnie by Francis Picabia

Udnie -Francis Picabia Famous Paintings -Canvas Fine Art Reproductions


Unavailable Available Only few left Out of stock Pre-order
ATX Fine Arts

Udnie by Francis Picabia

Udnie, Young American Girl

Udnie was inspired by a dance performance given by the Polish-born actress Stacia Napierkowska on the boat taking Francis Picabia to New York for the Armory Show in 1913. The work combines the decomposition of volumes into planes characteristic of Cubism with the enthusiasm for a world in the movement of Italian Futurism. The energy and vitality of the dance find expression in springing arabesque, fragmented colored planes and the jostling of simplified forms. In the radicalism of its treatment, Udnie marks a decisive step towards the emergence of abstraction in Europe.

Francis Picabia Bio

Francis Picabia viewed his art as an intimate extension of his life. It was a means to express his likes and dislikes, his thoughts and feelings—often without bothering to distinguish between those which were serious or trivial, public or private.

That attitude made for enormous variety in the styles and quality of his work, and he insisted on such freedom of expression even when it meant that most of the public might not like or understand what he was doing. Picabia was born in Paris on or about January 22, 1879. His mother was French and his father was a Spaniard living in Paris. Both parents came from wealthy, distinguished families, and Francis—their only child—was thoroughly spoiled, especially after his mother died when he was seven.

He entered the School of Decorative Arts in 1895 and later studied with several teachers, including Félix Cormon. In 1902 he met the sons of the aged impressionist painter Camille Pissarro, who introduced him to their father. Picabia became an Impressionist and traveled extensively to record scenes of France in the relatively objective manner of that style.

By 1908 Picabia had become dissatisfied with Impressionism. He began to paint in more subjective and abstracted styles, particularly the styles of Fauvism and Cubism. He was encouraged by Gabrielle Buffet, a music student whom he married in 1909. They talked about developing "pure painting"—an art which did not imitate nature but could express profound meanings through form and color alone.

They compared "pure painting" to music which did not imitate the sounds of nature but which stirred the souls of listeners by harmony and rhythm. At this time Picabia became an active member of the avant-garde in French art. He helped to finance and organize the important exhibition of the Section d'Or in 1912.

The poet and art critic Guillaume Apollinaire named him as one of the artists creating "pure painting" or Orphism. In 1913 Picabia and his wife visited New York to see the famous Armory Show which introduced modern European art to America. They became friends of the American photographer Alfred Stieglitz, who organized an exhibition of Picabia's work at his gallery, called 291. Two of Picabia's most renowned paintings, Udnie (1913) and Edtaonisl (1913), were huge, abstract compositions based on experiences during that trip to New York.

When World War I began in Europe, Picabia was drafted into the army. In 1915 he was sent on a supply mission to the Caribbean, but when his ship reached New York he neglected that mission in order to work again with Alfred Stieglitz.

It was an important period during which Picabia began to write poetry and to develop a radically new style of painting based on curious machines. Most of the machines were symbolic of man and human activities because Picabia believed that machines had become the touchstone of the modern world and that man had made machines in his own image. Many of the paintings also incorporated unusual titles and seemingly nonsensical inscriptions.

Picabia was influenced in this new style by his French friend Marcel Duchamp, who also settled in New York in 1915. Late in 1915 Picabia resumed his military mission. For two years he moved around from the Caribbean to Barcelona, Spain, to New York again. In late 1917 he left America permanently for Europe.

In 1919 Picabia met the Dadaists in Zürich who had been attracted by his unusual machine paintings and volumes of poetry bearing such titles as Platonic False Teeth and Poems and Drawings of the Daughter Born without a Mother. The leader of Zürich Dada, Tristan Tzara, moved to Paris in January 1920.

A Dada movement began immediately under the leadership of Tzara, Picabia, and André Breton. Parisians were outraged by their deliberately offensive publications, exhibitions, and public activities. Picabia's painting, poetry, and magazine entitled 391 were considered anti-art and anti-literature. By mid-1921, the Dadaists in Paris were quarreling among themselves, and Picabia left the movement. A Dadaist irreverence continued to flavor his work, including his collaboration with René Clair in 1924 on the film Entr'acte. That film became the intermission for Picabia's ballet, Relâche, produced in 1924 by the Swedish Ballet with music by Erik Satie.

In 1924 Picabia and his new wife, Germaine Everling, moved to Mougins on the French Riviera. There he lived the life of a playboy until the outbreak of World War II. He extended his reputation for numerous girlfriends and fast automobiles. During the early 1930s, he began living on his yacht with Olga Mohler, who became his last wife in 1940. Picabia continued to work prodigiously as a painter.

From about 1924 to 1928 he produced collages and distorted figurative paintings later called "the Monsters." His next paintings, from 1928 into the early 1930s, were called "transparencies."

They were characterized by multiple layers of transparent images—many drawn from sources in ancient and Renaissance art—which created poetic, dream-like effects. Later in the 1930s, Picabia produced a variety of simplified figurative studies, superimposed images, and abstract compositions. During World War II Picabia's lifestyle became more modest. Most of his paintings presented sentimental subjects—nudes, toreadors, flower girls—derived from popular reproductions in postcards and cheap magazines.

After the war, in 1945, Picabia and Olga returned to Paris. His work flourished in a new round of abstract art. Many old friendships were renewed, and he published several volumes of poetry. He died in Paris on November 30, 1953.

Francis Picabia Quotes

  • My arse contemplates those who talk behind my back.
  • The essence of a man is found in his faults.
  • A new gadget that lasts only five minutes is worth more than an immortal work that bores everyone.
  • The world is divided into two categories: failures and unknowns.
  • A free spirit takes liberties even with liberty itself.
  • Pain has its reasons, pleasure is totally indifferent.
  • God invented concubinage, satan marriage.
  • Knowledge is an ancient error reflecting on its youth.
  • Between my head and my hand, there is always the face of death.
  • Only useless things are indispensable.

Udnie by Francis Picabia

Udnie by Francis Picabia

Museum quality work made for the home! Brighten up any space with our beautiful and professionally finished canvas prints.

• Breathing color canvas; 440gsm with a satin finish
• Firwood stretcher bars sourced from sustainable Canadian forests
• Printed by an Epson 9900 eleven color printer using Epson archival inks
• Inks are water-resistant, durable and provide vivid print results
• Canvases are hand stretched perfectly flat and stapled to the wood frame
• Each canvas is printed, stretched and stapled by hand in Montreal, Canada
• Will arrive ready to hang

Buy Museum Quality ArtcanvasCanvas Fine Art ReproductionsMuseum Quality Art ReproductionsMuseum Quality Fine Art PrintsMuseum Quality Paintings On SaleUdnie by Francis Picabiawall-art

Recently Viewed Products