Exhibitions/ Art Object

Here, This Is Stieglitz Here

Artist:
Francis Picabia (French, Paris 1879–1953 Paris)
Date:
1915
Medium:
Ink, graphite, and cut-and-pasted painted and printed papers on paperboard
Dimensions:
29 7/8 x 20 in. (75.9 x 50.8 cm)
Classification:
Drawings
Credit Line:
Alfred Stieglitz Collection, 1949
Accession Number:
49.70.14
Rights and Reproduction:
© 2016 Artists Rights Society (ARS), New York
Not on view
Francis Picabia created Here, This Is Stieglitz Here (Ici, c'est Stieglitz) in 1915, after having relocated to New York from Paris earlier that year. While in New York, the Cubist painter met the American photographer Alfred Stieglitz, who would later organize an exhibition of Picabia's works at his legendary gallery 291 and collaborate with him on the Dada publication 291 in which Here first appeared. In this portrait, Picabia is clearly referencing Duchamp's machinist aesthetic as well as his ironic wit. Part of a series of machine portraits of his artist-friends in New York, Here depicts Stieglitz as a broken bellows camera with an automobile brake attached to it that is in motion. It is important to underscore that this series of machine portraits did not celebrate the hyper-mechanized culture of the early twentieth century. Machinist imagery formed a vocabulary that Picabia drew upon in order to capture the modern human spirit. His work is not a comment on the frenzied fascination with which contemporary culture viewed the machine but, rather, a demonstration of how such mechanized symbols can successfully articulate the seemingly opposed values of an individual's sensibility. Picabia has written "Ideal" in an old-fashioned, delicate, highly detailed script that effectively contrasts with the modern-day, sleek machine upon which it perches. The elaborate Gothic font hearkens back to an outdated mode of portraiture and, generally speaking, of painting, against which Picabia is clearly working. More importantly, it addresses Stieglitz's own idealism that, according to those in his circle, had failed to inspire Americans toward self-discovery through art and photography. Indeed, Stieglitz's goal was too grandiose, hence the lofty placement of "Ideal" above the mass-produced object-an object that connotes a commercially driven reality more characteristic of America at this moment in history. Spearheading the effort to introduce the dominant artistic practices of Europe to American artists, Here embraces the humor with which Picabia and Duchamp mocked traditional artistic styles and techniques, and that would characterize their proto-Dada practices during the time they lived in New York.
Inscription: Signed, dated, and inscribed (lower right, printed, on pasted strip of paper): F. Picabia/ 1915/ New York; inscribed (upper left, printed, on pasted strip of paper): ICI, C'EST ICI STIEGLITZ/ FOI ET AMOUR; inscribed (upper center, collage of printed letters): IDEAL
Alfred Stieglitz, New York (1915–d. 1946; acquired from the artist; his estate, 1946–49; gift to MMA)

New York. 291. "Exhibition of Recent Paintings–Never before Exhibited Any Where–by Francis Picabia, of New York," January 12–26, 1915, no catalogue.

New York. An American Place. "Beginnings and Landmarks: "291," 1905–1917," October 27–December 27, 1937, no. 66.

Philadelphia Museum of Art. "History of an American, Alfred Stieglitz: '291' and After, Selections from the Stieglitz Collection," July 1–November 1, 1944, no. 169.

New York. Whitney Museum of American Art. "The Decade of the Armory Show: New Directions in American Art 1910–1920," February 27–April 14, 1963, no. 75.

City Art Museum, Saint Louis. "The Decade of the Armory Show: New Directions in American Art 1910–1920," June 1–July 14, 1963, no. 75.

Cleveland Museum of Art. "The Decade of the Armory Show: New Directions in American Art 1910–1920," August 6–September 15, 1963, no. 75.

Philadelphia. Pennsylvania Academy of the Fine Arts. "The Decade of the Armory Show: New Directions in American Art 1910–1920," September 30–October 30, 1963, no. 75.

Art Institute of Chicago. "The Decade of the Armory Show: New Directions in American Art 1910–1920," November 15–December 29, 1963, no. 75.

Buffalo. Albright-Knox Art Gallery. "The Decade of the Armory Show: New Directions in American Art 1910–1920," January 20–February 23, 1964, no. 75.

Museum of Modern Art, New York. "The Machine as Seen at the End of the Mechanical Age," November 25, 1968–February 9, 1969, unnumbered cat. (p. 87; as "Ici, c'est ici Stieglitz [Here, This is Stieglitz]").

Houston. University of St. Thomas. "The Machine as Seen at the End of the Mechanical Age," March 25–May 18, 1969, unnumbered cat.

San Francisco Museum of Art. "The Machine as Seen at the End of the Mechanical Age," June 23–August 24, 1969, unnumbered cat.

New York. Solomon R. Guggenheim Museum. "Francis Picabia," September 16–December 6, 1970, no. 42.

Paris. Galeries Nationales du Grand Palais. "Francis Picabia," January 23–March 29, 1976, no. 56.

New York. Wildenstein Gallery. "Modern Portraits: The Self and Others; an Exhibition Organized by the Department of Art History and Archaeology of Columbia University in the City of New York," October 21–November 28, 1976, no. 93.

Paris. Musée National d'Art Moderne, Centre Georges Pompidou. "Paris—New York," June 1–September 19, 1977, unnumbered cat. (p. 226).

Neue Nationalgalerie, Berlin. "Tendenzen der Zwanziger Jahre: 15. Europäische Kunstaussellung unter den Auspizien des Europarates," August 14–October 16, 1977, no. 3/689.

Stadtische Galerie im Stadelschen Kunstinstitut, Frankfurt am–Main. "DaDa in Europa: Werke und Dokumente," November 10, 1977–January 8, 1978, no. 3/689.

London. Hayward Gallery. "Dada and Surrealism Reviewed," January 11–March 27, 1978, no. 2.35.

Museo de Arte Contemporaneo, Caracas. "El Espíritu Dada 1915-1925," November 14, 1980–January 15, 1981, unnumbered cat. (p. 185).

Städtische Kunsthalle Düsseldorf. "Francis Picabia," October 29–December 4, 1983, no. 24.

Kunsthaus Zürich. "Francis Picabia," February 3–March 25, 1984, no. 24.

Moderna Museet, Stockholm. "Francis Picabia," April 7–May 27, 1984, no. 22 (Swedish edition).

New York. Museum of Modern Art. "High and Low: Modern Art, Popular Culture," October 7, 1990–January 15, 1991, unnumbered cat. (p. 269; as "Ici, c'est ici Stieglitz").

New York. Whitney Museum of American Art. "City of Ambition: Artists & New York, 1900–1960," July 3–October 27, 1996, not in catalogue.

New York. The Metropolitan Museum of Art. "Artists' Artists," July 2–November 14, 2004, no catalogue.

New York. The Metropolitan Museum of Art. "Stieglitz and His Artists: Matisse to O'Keeffe," October 13, 2011–January 2, 2012, no. 18.

291 no. 5-6 (July-August 1915), cover ill.

"Art Notes: Many Enjoyable Paintings in Modern Gallery—Women's Work." New York Times (October 9, 1915), p. 8.

Peter Minuit [Paul Rosenfeld]. "291 Fifth Avenue." Seven Arts (November 1916), repr. ed.: p. 61.

Gabrielle Buffet-Picabia. "Some Memories of Pre-Dada: Picabia and Duchamp." The Dada Painters and Poets: An Anthology. Ed. Robert Motherwell. Vol. 8, New York, 1951, pp. 257-58.

Michel Sanouillet. Picabia. Paris, 1964, p. 96, ill.

William A. Camfield. "The Machinist Style of Francis Picabia." Art Bulletin 48 (September-December 1966), p. 314, fig. 8.

William S. Rubin. Dada and Surrealist Art. New York, 1968, pp. 56, 490, ill.

William S. Rubin. Dada, Surrealism, and Their Heritage. Exh. cat., Museum of Modern Art, New York. New York, 1968, pp. 26-27, fig. 23.

William Agee. "New York Dada, 1910–30." The Avant-Garde. Ed. Thomas B. Hess and John Ashbery. New York, 1968, p. 109, ill.

Françoise Will-Levaillant. "Picabia et la machine: Symbole et abstraction." Revue de l'art 4 (1969), p. 79.

George Heard Hamilton. "The Alfred Stieglitz Collection." Metropolitan Museum Journal 3 (1970), pp. 372, 381, fig. 1.

Sam Hunter and John Jacobus. American Art of the Twentieth Century: Painting, Sculpture, Architecture. New York, 1973, p. 87, fig. 143.

Dorothy Norman. Alfred Stieglitz: An American Seer. New York, 1973, p. 127, fig. 60.

William Innes Homer. "Picabia's 'Jeune fille américaine dans l'état de nudité' and Her Friends." Art Bulletin 57 (March 1975), pp. 111–12, fig. 2.

Dickran Tashjian. Skyscraper Primitives: Dada and the American Avant-Garde, 1910-1925. Middletown, Conn., 1975, pp. 37-38.

William A. Camfield. Francis Picabia: His Art, Life and Times. Princeton, 1979, p. 285, fig. 107.

Howard Hibbard. The Metropolitan Museum of Art. New York, 1980, p. 502, fig. 909.

Willard Bohn. "The Abstract Vision of Marius de Zayas." Art Bulletin 62 (September 1980), pp. 445-46, 448, fig. 16.

Gabrielle Buffet-Picabia. "Some Memories of Pre-Dada: Picabia and Duchamp." The Dada Painters and Poets: An Anthology. Ed. Robert Motherwell. 2nd ed. Boston, 1981, pp. 137, 257, ill.

Maria Lluïsa Borràs. Picabia. New York, 1985, pp. 155-56, 162-63, 509, no. 171, fig. 278.

Sherrye Cohn. Arthur Dove: Nature as Symbol. Ann Arbor, Mich., 1985, p. 103.

Judi Freeman in The Dada and Surrealist Word-Image. Exh. cat., Los Angeles County Museum of Natural History. Los Angeles, 1989, p. 27, fig. 15.

Arnauld Pierre. "Sources inédites pour l'oeuvre machiniste de Francis Picabia, 1918-1922." Bulletin de la Société de l'Histoire de l'Art Français (March 1991), pp. 256-57.

Barbara Haskell. Joseph Stella. Exh. cat., Whitney Museum of American Art. New York, 1994, p. 71, fig. 87.

William Rozaitis. "The Joke at the Heart of Things: Francis Picabia's Machine Drawings and the Little Magazine '291'." American Art 8 (Summer-Autumn 1994), pp. 43-44, 46-48, 51, 53, 55-56, fig. 1.

Richard Whelan. Alfred Stieglitz: A Biography. Boston, 1995, pp. 349-50.

Cathy Bernheim. Picabia. Paris, 1995, pp. 81-82, plate section p. VII.

Francis Picabia: Mâquinas y Españolas. Exh. cat., IVAM, Centre Julio González. Valencia, 1995, p. 86, ill.

Beth Venn in Francis M. Naumann. Making Mischief: Dada Invades New York. Exh. cat., Whitney Museum of American Art. New York, 1996, pp. 272, 275, ill.

Pedro Lapa in Francis Picabia: Antologia/Anthology. Ed. Clara Távora Vilar et al. Exh. cat., Centro Cultural de Belém, Portugal. Belém, 1997, pp. 20-23, ill.

Marcia Brennan. "Alfred Stieglitz and New York Dada: Faith, Love and the Broken Camera." History of Photography 21 (Summer 1997), pp. 156-57, fig. 1.

Carole Boulbès. Picabia: Le Saint masqué. Essai sur la peinture érotique de Francis Picabia. Paris, 1998, p. 13 n. 4,, p. 147, ill., p. 14.

Marianne Nahon and Pierre Nahon in Francis Picabia: Classique et merveilleux. Exh. cat., Galerie Beaubourg. Vence and Paris, 1998, p. 23, ill.

Wanda M. Corn. The Great American Thing: Modern Art and National Identity, 1915-1935. Berkeley, 1999, pp. 22-24, 415, fig. 8.

Pepe Karmel in Sarah Greenough. Modern Art and America: Alfred Stieglitz and His New York Galleries. Exh. cat., National Gallery of Art. Washington, D. C., 2000, pp. 202, 213, 216–17, pl. 59.

Vivien Green Fryd. Art and the Crisis of Marriage: Edward Hopper and Georgia O'Keeffe. Chicago, 2003, pp. 157-58, fig. 94.

Danielle Tilkin et al. New York et l'art moderne: Alfred Stieglitz et son cercle (1905–1930). Exh. cat., Musée d'Orsay. Paris, 2004, pp. 133, 163, 321, no. 71, figs. 40, 71 (Spanish ed., 2004, pp. 133, 163, 314, no. 71, figs. 40, 71).

John Carlin and Jonathan Fineberg. Imagining America: Icons of 20th-Century American Art. New Haven and London, 2005, p. 35.

Jay Bochner. An American Lens: Scenes from Alfred Stieglitz's New York Secession. Cambridge, 2005, pp. 138, 144-45, fig. 5.15.

Jessica Murphy in Stieglitz and His Artists: Matisse to O'Keeffe. The Alfred Stieglitz Collection in The Metropolitan Museum of Art. Ed. Lisa Mintz Messinger. Exh. cat., The Metropolitan Museum of Art. New York, 2011, pp. 43, 47, 247, no. 18, ill. (color) pp. 47, 247.



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