This publication is the first of four volumes in the catalogue raisonné of Francis Picabia (1879–1953), one of the most significant, challenging artists of the 20th century. The works in Volume I range from Picabia’s early pieces as an Impressionist in the 1890s to his Cubist and abstract paintings of 1912–14, which constitute landmarks in the history of modern art. This volume allows for new critical and scientific readings of his work and piques interest in his lesser-known pieces. Along with illustrations of each featured work, the book includes an introduction, chronology, bibliography, list of exhibitions, and indices.

Francis Picabia Catalogue Raisonné: Volume I (Mercatorfonds)

Arts & Photography

CAMFIELD, William A.

Pierre, Arnauld

Clements, Candace

Calté, Beverley

History & Criticism

Mercatorfonds

The second of an important multi-volume catalogue project, this publication features work by Francis Picabia (1879-1953) that dates from 1915 into mid-1927. Beginning with Picabia’s elaboration of a personal machinist aesthetic, the book continues by looking at the artist’s central role in the formulation of the Paris Dada movement. That irreverent movement included Picabia’s increasingly provocative mechanomorphic compositions, complemented by his unorthodox writings and graphic designs as well as socially powerful performances. In the 1920s, Picabia turned to striking geometrical abstractions, subversive figurative art, and a collaboration in 1924 with the Swedish Ballet. The volume finishes with a look at Picabia’s creations of the mid-1920s, which included memorable collages and flamboyant figurative compositions known as the "monsters.”

Francis Picabia Catalogue Raisonné: Volume II (1915-1927)

Verdier, Aurélie

Calté, Pierre

This publication is the fourth volume of an important catalogue raisonné of the work of Francis Picabia\nThis publication, the fourth volume of an important catalogue raisonné of the work of Francis Picabia (1879–1953), includes paintings and selected drawings dating from 1940 into 1952. During the war years, while still residing in the south of France, Picabia was primarily occupied by figural subjects⁠—multi-figure allegories, female nudes, and glamorous female "portraits"⁠—painted in bold illusionistic relief. Notorious even in his lifetime, most of these works are now known to have adapted photographic illustrations in older "girly" magazines and other popular media.\nUpon his return to Paris in the post-war period, Picabia renewed his earlier interests in abstract and sometimes non-objective art, still often drawing upon published sources ranging from prehistoric art to Nietzsche, and pursued frequent exhibition of his distinctive, constantly mutating responses to critical currents of the day. These included a series of severely reductive, subtly effective "point" or dot paintings beginning in 1949—three years before ill-health effectively ended Picabia’s half-century of artistic provocation.\nDistributed for Mercatorfonds

Francis Picabia: Catalogue Raisonne Volume IV (1940–1953) (Catalogue Raisonne, 4)

The description for this book, Francis Picabia: His Art, Life, and Times, will be forthcoming.

Francis Picabia: His Art, Life, and Times

Biographies & Memoirs

Princeton University Press

Frank Freed (1906–75) painted vignettes of daily life, ideas, and emotions in relative obscurity for nearly thirty years in a style typically categorized as "naive" or "folk" art. More Than a Constructive Hobby surveys the Houston businessman/artist’s work and shows how it was informed by sophisticated observations and an intense love of literature. Freed was born in San Antonio in 1906, the only child of German-origin Jews, but spent most of his life in Houston. After World War II, he took advantage of the GI Bill to enroll in a basic painting class. Although he created art for his own pleasure in Houston, far removed from the nation’s northeastern cultural center, Freed’s best work fused two honorable traditions, combining the cultural commentary of such artists as Honoré Daumier and Ben Shahn with the style of "naive" or "folk" art set by the Douanier Rousseau, Horace Pippin, and John Kane. With the overwhelming art energy centered in New York, Houston artists like Freed received little attention. Compiled to accompany a 1996 exhibition of his work by the Museum of Fine Arts, Houston, More Than a Constructive Hobby redresses that neglect. Freed’s gentle humanism imbues his compositions; he recorded the social mores of his times, using his friends and local environment to mirror the larger issues of his day. On the rare occasions that he addressed greater historical events, such as the horrors of Auschwitz or the strife of the civil rights movement, he did so in human terms, looking to the individual to express the whole.

More Than a Constructive Hobby: The Paintings of Frank Freed (And Culture)

Museum of Fine Arts, Houston

Marcel Duchamp, Fountain

Menil Collection

Francis Picabia

The Solomon R. Guggenheim Museum

Con un saggio introduttivo di Werner Spies e una prefazione di W. Hopps. 432 illustrazioni di cui 146 a colori . 4to pp. 376 Rilegato tela, sovracoperta (cloth, dust jacket) Ottimo (Fine)

Max Ernst: Dada and the Dawn of Surrealism

ERNST, Max

Museum of Modern Art (New York, N.Y.)

Spies, Werner

Hopps, Walter

Menil Collection (Houston, Tex.)

Art Institute Of Chicago

Prestel Pub

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