Francis Picabia

Galerie 1900-2000, Paris
Artur Jorge, Lisbon (acquired from the above and sold: Christie's, Paris, 2 December 2010, lot 85)
Acquired at the above sale by the present owner

Paris, Galerie 1900–2000, Francis Picabia, Arc en ciel, 1987, no. 41

The board is sound but slightly undulating. Examination under UV light reveals thin strips of retouching around the extreme edges. Thin lines also fluoresce on the figure's face and hair indicating localised zones of minor restored craquelure, otherwise this work remains in very good condition.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

The years 1942-1943 were a time if intense creativity for Picabia, who was working on one of his most famous series of oeuvres. Based on the Cote d’Azur since 1925, the artist explored a so-called ‘realist’ vein, taking inspiration from photographs of famous movie actresses or music-hall stars, as well as photographs from magazines from the late 1930s, such as Mon Paris, Paris Magazine, Paris Cinéma and Paris Sex Appeal. Picabia transcribed these images, modified them, retouching them in order to accentuate or distort their meaning.

Portrait d’une blonde depicts one of the actresses who was in vogue at the time, Madeleine Sologne (born Madeleine Simone Vouillon). Her cinematic career began in 1936 with a small role in La Vie est à nous by Jean Renoir. At this time she also became a model for Moïse Kisling who painted several portraits of her, It was a 1943 film entitled L’Eternel Retour, written by Jean Cocteau directed by Jean Delannoy that made Madeleine Sologne a star. Alongside the film’s other lead, Jean Maraism she embodied French youth under the Occupation. It was during this period that Picabia decided to take inspiration from the many photographic images of her to paint the present picture.

This painting is characteristic of Picabia’s works from these years that have been dubbed ‘realist’. In the same manner as magazines from the time, the young actress is depicted in a sophisticated and suggestive pose that evokes the postcards printed by contemporary cinematic studios. The harsh light illuminating the model and the bright colours deployed bring an acidity and a realism to the composition that radically sets it apart from the idealised photographs of the time.