Toredor

1921

Renounces Dada

In 1921, having developed an interest in Surrealism, Picabia publicly denounced Dada. Of his changes of course he wrote: “If you want to have clean ideas, change them like shirts.”

1922

Solo exhibition at the Galeries Dalmau

In 1922 Picabia mounted a large solo show of his machinist work; that year he also had a solo exhibition at the Galeries Dalmau in Barcelona.

autumn 1923

A ballet commission for the Ballets Suédois

In the autumn of 1923 Rolf de Maré, director of the Ballets Suédois, commissioned from Erik Satie a ballet on Blaise Cendrars's scenario “Après dîner”, with sets by Picabia: after their falling-out in early 1922, painter and composer were working together again.

1924

Script and roles in René Clair's “Entr'acte”

For screening during the ballet's interval, the young director René Clair shot the film “Entr'acte” from Picabia's scenario; the artist played two roles in it, and in the prologue he and Satie load a cannon and aim it at the audience.

4 December 1924

Premiere of the ballet “Relâche”

A week later the Dada ballet to Erik Satie's music did take place at the Théâtre des Champs-Élysées, with Picabia as librettist, stage designer and costume designer. It is called the high point of his life and work.

1925

Back to figuration: the “Monsters” period

In 1925 Picabia returned to figurative painting: the dense, garish canvases of his “Monster” period would later be an important influence on Sigmar Polke.