helm22000
Paroxysme de la douleur
Girl born without a Mother,
The DADA figure also suggests that contact with Duchamp (Picabia arrived in New York around the same time) may have encouraged Picabia to harden his earlier organo-mechanic.
Francis Picabia Paroxysme de la douleur 1915 encre et peinture métallique sur carton 80 x 80 cm. Acheté en 1982. Musée des beaux-arts du Canada
www.toutfait.com/online_journal_details.php?postid=1235
This should be obvious, given the way in which all of the New York mechanomorphs retain, even reinforce, a modernist commitment to the integrity of the picture plane (its flatness and boundedness), as well as in the way in which the bulk of the mechanomorphs, like the earlier abstractions, resist interpretation as real-world objects. In Paroxysm of Sorrow (Paroxyme (sic) de la douleur) (1915) (Fig. 18), for example, the uniform application of paint, the nesting of rectangular forms (the largest of which coincides with the outer limit of the canvas), as well as the work's aggressive frontality and symmetry suggest a continued dialog with the language of abstraction, in particular with the shallow space, central organization, and largely symmetrical, well-framed composition of Udnie. And this is no less true of A Machine Without a Name
Paroxysme de la douleur
Girl born without a Mother,
The DADA figure also suggests that contact with Duchamp (Picabia arrived in New York around the same time) may have encouraged Picabia to harden his earlier organo-mechanic.
Francis Picabia Paroxysme de la douleur 1915 encre et peinture métallique sur carton 80 x 80 cm. Acheté en 1982. Musée des beaux-arts du Canada
www.toutfait.com/online_journal_details.php?postid=1235
This should be obvious, given the way in which all of the New York mechanomorphs retain, even reinforce, a modernist commitment to the integrity of the picture plane (its flatness and boundedness), as well as in the way in which the bulk of the mechanomorphs, like the earlier abstractions, resist interpretation as real-world objects. In Paroxysm of Sorrow (Paroxyme (sic) de la douleur) (1915) (Fig. 18), for example, the uniform application of paint, the nesting of rectangular forms (the largest of which coincides with the outer limit of the canvas), as well as the work's aggressive frontality and symmetry suggest a continued dialog with the language of abstraction, in particular with the shallow space, central organization, and largely symmetrical, well-framed composition of Udnie. And this is no less true of A Machine Without a Name