{"id":3576,"date":"2024-01-29T12:27:44","date_gmt":"2024-01-29T11:27:44","guid":{"rendered":"https:\/\/www.cabinetmarechaux.com\/?p=3576"},"modified":"2024-01-29T12:28:13","modified_gmt":"2024-01-29T11:28:13","slug":"francis-picabia-harmas-1928","status":"publish","type":"post","link":"https:\/\/www.cabinetmarechaux.com\/index.php\/2024\/01\/29\/francis-picabia-harmas-1928\/","title":{"rendered":"Francis Picabia, Harmas 1928"},"content":{"rendered":"\n

Francis PICABIA (1879-1953)<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

Harmas, circa 1928<\/em><\/p>\n\n\n\n

Technique mixte, aquarelle, gouache, crayon noir et lavis sur carton, sign\u00e9e en bas vers la droite<\/p>\n\n\n\n

106 x 75,5 cm<\/p>\n\n\n\n

Un certificat de Pierre Calt\u00e9, pour le comit\u00e9 Picabia en date du 18 mars 2015, sera remis \u00e0 l\u2019acqu\u00e9reur.<\/p>\n\n\n\n

Provenance :<\/p>\n\n\n\n

– acquis aupr\u00e8s de la galerie Th\u00e9ophile Briant au d\u00e9but des ann\u00e9es 1930, puis par descendance.<\/p>\n\n\n\n

Expositions :<\/p>\n\n\n\n

–  Francis Picabia<\/em>, Galerie Th. BRIANT, Paris,  26 octobre au 15 novembre 1928, n\u00b0 37<\/p>\n\n\n\n

– exposition Francis PICABIA trente ans de peinture,<\/em> chez L\u00e9once Rosenberg, Paris, 9 – 31 d\u00e9cembre 1930, n\u00b0 28.<\/p>\n\n\n\n

Bibliographie :<\/p>\n\n\n\n

– G.  de P(awlowski), Une exposition Francis Picabia ( 32 rue de Berri)<\/em>, Le Journal 27 octobre 1928, p. 5<\/p>\n\n\n\n

– W. A. Camfield, B. Calt\u00e9, C. Clements, A. Pierre, Francis Picabia, Catalogue Raisonn\u00e9<\/em>, volume III, 1927-1939, Fonds Mercator, 2019, n\u00b0 1052, p. 188<\/p>\n\n\n\n

Francis Picabia s\u2019est sans cesse renouvel\u00e9 depuis ses d\u00e9buts au Salon des Artistes Fran\u00e7ais en 1899, sa p\u00e9riode dite \u201cimpressionniste\u201d prend fin en 1909, ann\u00e9e o\u00f9 il \u00e9pouse Gabrielle Buffet. Cette jeune musicienne d\u2019avant-garde lui fait d\u00e9couvrir l\u2019art moderne, Picabia cherche alors son propre langage et aborde la non-figuration. <\/p>\n\n\n\n

En 1913, il expose \u00e0 l\u2019Armory Show \u00e0 New York et s\u00e9journe presque six mois sur place. Il est profond\u00e9ment marqu\u00e9 par cette ville ; d\u00e9bute alors sa p\u00e9riode \u00ab m\u00e9canomorphique \u00bb. <\/p>\n\n\n\n

Apr\u00e8s-guerre, Francis Picabia, s\u00e9par\u00e9 de son \u00e9pouse, se rapproche avec Germaine Everling des dada\u00efstes. En 1928, il abandonne la \u201cd\u00e9rision de la peinture\u201d, ce revirement correspond \u00e0 l\u2019entr\u00e9e en sc\u00e8ne d\u2019une nouvelle compagne, Olga Mohler. L\u2019artiste imagine les \u201ctransparences\u201d, ces s\u00e9duisantes superpositions d\u2019images, souvent emprunt\u00e9es \u00e0 la peinture ancienne.<\/p>\n\n\n\n

Picabia expose Harmas<\/em> \u00e0 la Galerie Th\u00e9ophile Briant en 1928, sous le n\u00b0 37. <\/p>\n\n\n\n

En 1929, \u00e0 l\u2019occasion d\u2019une autre exposition de Picabia dans cette m\u00eame galerie parisienne, le critique de cin\u00e9ma Gaston Ravel, dans un article \u201cexposition de peinture\u201d qualifiera ces transparences de \u00absur-impressionnisme\u00bb, en r\u00e9f\u00e9rence \u00e0 la simultan\u00e9it\u00e9 d\u2019images de films superpos\u00e9es.<\/p>\n\n\n\n

D\u00e8s 1928, L\u00e9once Rosenberg commande \u00e0 Francis Picabia des \u201cTransparences\u201d pour d\u00e9corer la chambre de son \u00e9pouse dans son appartement du 75 rue de Longchamp \u00e0 Paris. Ce c\u00e9l\u00e8bre marchand lui consacre une r\u00e9trospective \u201cTrente ans de peinture\u201d en d\u00e9cembre 1930, o\u00f9 figure Harmas<\/em> sous le n\u00b028. Dans la pr\u00e9face du catalogue, Francis Picabia confie :<\/p>\n\n\n\n

 \u00ab Mon esth\u00e9tique actuelle provient de l\u2019ennui que me cause le spectacle de tableaux qui m\u2019apparaissent comme congel\u00e9s en surface immobile, loin des choses humaines.<\/p>\n\n\n\n

 Cette troisi\u00e8me dimension, non faite de lumi\u00e8re et d\u2019ombre, ces transparences avec leurs coins d\u2019oubliettes me permettent de m\u2019exprimer \u00e0 la ressemblance de mes volont\u00e9s int\u00e9rieures. Lorsque je pose la premi\u00e8re pierre, elle se trouve sous mon tableau et non dessus. Les moyens d\u2019activit\u00e9 moderne barbarisent. Moi, je veux une expression plus grandiose, avec une s\u00fbret\u00e9 de main et une bravoure implacables, sans la crainte de s\u2019attaquer soi-m\u00eame. Je veux un tableau o\u00f9 tous mes instincts puissent se donner libre cours\u00bb.<\/p>\n\n\n\n

Et L\u00e9once Rosenberg de lui r\u00e9pondre : \u201cvous avez, en associant le visible \u00e0 l\u2019invisible meubl\u00e9 l\u2019espace et, par un jeu ordonn\u00e9 de formes contrast\u00e9es et rythm\u00e9es, cr\u00e9\u00e9 un dynamisme gr\u00e2ce auquel votre oeuvre, devenue ainsi mobile, peut d\u00e9sormais accompagner la marche du temps.\u201d<\/p>\n\n\n\n

Dans ses \u201ctransparences\u201d, Francis Picabia superpose diff\u00e9rentes images, issues le plus souvent de r\u00e9f\u00e9rences \u00e0 l\u2019histoire de l\u2019Art, \u00e0 ses propres cr\u00e9ations.<\/p>\n\n\n\n

Dans l\u2019oeuvre que nous pr\u00e9sentons ici, ce sont deux oeuvres de Sandro Botticelli, un Portrait de jeune homme<\/em>  conserv\u00e9 \u00e0 la National Gallery de Londres et les mains du Jeune homme tenant une m\u00e9daille<\/em> conserv\u00e9 \u00e0 la Galerie des Offices de Florence, auxquelles se superposent feuilles, lianes, arabesques et signes noirs isol\u00e9s. Au centre de la feuille, une t\u00eate de chat aux yeux verts se r\u00e9v\u00e8le \u00e0 l\u2019observateur attentif. <\/p>\n\n\n\n

Picabia associe aux oeuvres de cette p\u00e9riode des titres souvent \u00e9nigmatiques. L\u2019Harma est une esp\u00e8ce de papillon. Harmas signifie aussi, en proven\u00e7al,  une \u00e9tendue caillouteuse et st\u00e9rile laiss\u00e9e \u00e0 l\u2019abandon et c\u2019est ainsi que l\u2019entomologiste Jean-Henri Fabre (1823-1915) nomme la propri\u00e9t\u00e9 qu\u2019il acquiert en Provence en 1879. Cette propri\u00e9t\u00e9 et son jardin appartiennent au Museum national d\u2019histoire naturelle depuis 1922.<\/p>\n\n\n\n

Acquise au d\u00e9but des ann\u00e9es 1930 aupr\u00e8s de Th\u00e9ophile Briant par la famille de l\u2019actuel propri\u00e9taire, cette oeuvre est rest\u00e9e \u00e0 l\u2019abri des regards depuis l\u2019exposition \u201cFrancis Picabia Trente ans de peinture\u201d chez L\u00e9once Rosenberg en 1930. <\/p>\n","protected":false},"excerpt":{"rendered":"

Francis PICABIA (1879-1953) Harmas, circa 1928 Technique mixte, aquarelle, gouache, crayon noir et lavis sur carton, sign\u00e9e en bas vers la droite 106 x 75,5 cm Un certificat de Pierre … <\/p>\n

Lire la suite de\u00ab\u00a0Francis Picabia, Harmas 1928\u00a0\u00bb<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"ngg_post_thumbnail":0,"footnotes":""},"categories":[1,4],"tags":[],"class_list":["post-3576","post","type-post","status-publish","format-standard","hentry","category-non-classe","category-ventes-paris"],"yoast_head":"\nFrancis Picabia, Harmas 1928 - Cabinet Mar\u00e9chaux<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.cabinetmarechaux.com\/index.php\/2024\/01\/29\/francis-picabia-harmas-1928\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Francis Picabia, Harmas 1928 - 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