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Francis Picabia

Forget the obvious, parodies with Duchamp and Man Ray or the gorgeous painted screens somewhere between the late 20th and early years of the 30s. The best phase of Francis Picabia is between 1939 and 1945, where the French artist gives a jolt to the creative apathy War however provoked. The artist looked angry, but refused to lose the sense of humor. It is precisely at this time that Picabia gives us what we wanted. What we deserved.
are pin-up portraits of decadent divas post, modeled on any one of banal erotic magazine, where it is impossible to uncover any prima facie logical motivation / valid by the artist. Much criticized at the time, were unanimously described as disgusting, outrageous, surface and be rude. They were especially attentive to a prevailing morality, and did not deal well with the ideas of authoritarian modernism. Say the vulgarity of the kitsch and the banal nu, coarse, as represented by Picabia were not adequately represent the ambitions of an institution that, at this point, struggled to be taken seriously.
However, those images that are now easily described as "folk realism", inspired by the softcore and advertising have been a beautiful stone in the pond of apathy that they lived at the time. They are indeed a beautiful manifestation anti-art post-paid, in line with what your colleagues and friends, Man Ray and Marcel Duchamp, tried to explore endlessly. "Kitsch", loaded with irony and grotesque, these pictures are definitely a whim, free from prejudice, which sought to elicit a convulsion, a violent reaction to an audience apparently irascible and averse to change. Bad taste assumed, once again, the status of anti-art.
This gesture, seemingly innocent and without any formal claims, but inspire a generation who could not stand the arrogance represented by the abstract expressionism. Twenty years later, the screens "outrageous" Picabia's gained a new meaning, often cited as being heavily inspired by pop art, especially from the conceptual point of view, to take ownership of an imaginary too mundane. The disruption and provocation are always closely linked to these two moments. And, perhaps, be even unfair to shut the divas of Picabia at the Warhol Brillo Box as well as distinguish the position of both artists and their work before the public. They deserve praise: delightfully kitsch.