Color screenprint after the celebrated 1917 painting by the French dadaist painter and poet. Undated, titled and signed within the matrix, inscribed H(ors) C(ommerce) lower left and signed "Picabia” lower right in pencil. Toning to sheet, not examined out of frame, overall fine. Framed to 26.25 x 19.625 inches (67 x 49 cm).
Picabia's mechanomorphic pictures suggest analogies between machines and the human form. To contemporary viewers they were scandalous in their rejection of the idea of the human soul and their emphasis instead on instincts and compulsions - both often erotic. In this work, Picabia blended male and female; the upper part in red might be considered female and the lower part in blue, male. The viewer can imagine the sound of hammering and the idea of a "sonorous sculpture," or a musical instrument.
Color screenprint after the celebrated 1917 painting by the French dadaist painter and poet. Undated, titled and signed within the matrix, inscribed H(ors) C(ommerce) lower left and signed "Picabia” lower right in pencil. Toning to sheet, not examined out of frame, overall fine. Framed to 26.25 x 19.625 inches (67 x 49 cm).
Picabia's mechanomorphic pictures suggest analogies between machines and the human form. To contemporary viewers they were scandalous in their rejection of the idea of the human soul and their emphasis instead on instincts and compulsions - both often erotic. In this work, Picabia blended male and female; the upper part in red might be considered female and the lower part in blue, male. The viewer can imagine the sound of hammering and the idea of a "sonorous sculpture," or a musical instrument.
