At the beginning of the First World War his family was sent on a mission to Cuba, but he did to her and did not get, who stayed in New York, where he had a transplant. There he resumed his contacts with Shtayglittsem and Duchamp. In 1915, in an article entitled "French artists promote American art", he wrote: "The car became more than a mere instrument of human life. She became a real part of human life. I took possession of the mechanics of the modern world and gave it to penetrate into my studio /... /I want to reach the top of the mechanical symbolism ... ". Using the symbolic vocabulary of machines marks the beginning of "mehanomorficheskogo" period in his work, in which the machine torn from their familiar contexts and stanovyats clean objects, often erotizirovannymi.
In 1916, Picabia exhibited at Modern Gallery new series of mechanical paintings. But this flurry of activity led Picabia to depression. In Barcelona, where he moved, he began to study poetry. In 1917 he published his first collection of poems. In the same year he began to publish the magazine "391" - the recollection of the journal Shtayglittsa, in which the tone was decidedly provocative Dadaist. The journal is published prior to 1924
In the spring of 1917 he again went to New York, where he mainly Dadaist works.
Back in Paris, he takes an active part in the Dadaists, to which he had a great impact: with his light hand it gets to the subject of ridicule Dadaists: the art and artists, religion and nationalism: "the artists say they do not care about the bourgeoisie; well, but I do not care and the bourgeoisie, and the artists.
However, he feels lonely sebyaya: "the only way to do so for you to follow it to run faster than others."
In 1920 g.dadaisty reign in Paris, but next year there are differences between them, and Picabia moves away from the group "I invented Dadaism, as a person in a burning forest burns all around him, so as not to burn" - he wrote.
He harshly criticizes them for their conformism. In 1923-24. Picabia works a lot in the technique of collage.
Straightened with the Dadaists, he declared war surrealist, which he called "trumped-up traffic."
In 1924 he settled on the Cote d'Azur. At this time he wrote a series of paintings titled "freaks, monsters, makes a caricature of the plots that are derived from the old masters - Rubens, Michelangelo.
In 1925 he finally buried Dadaism. In his article, "Picabia against Dada or return to reason", he writes that "art can not be democratic": "Nature is unfair? Well, so much the better - inequality - the only thing that saves us from the monotony of equality, which leads to deadly boredom.
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