Picabia took a radical approach to modern portraiture, appropriating mass-produced images of machines to represent his subjects. The visual source for this witty caricature of Stieglitz was a magazine advertisement for the popular Vest Pocket Kodak camera. Picabia arranged the Stieglitz-camera with its bellows extended but disengaged, and its lens focused on the "IDEAL." Its upward movement, however, is impeded by the automobile gears set in park. Symbolically, Picabia represented the concerns being expressed within the "291" inner circle that Stieglitz was losing his drive to continue fighting for modern art. This drawing, with its cut-and pasted strips of printed words and pencil corrections, was the mock-up for the cover of the July–August 1915 issue of 291.
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Artwork Details
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Title:Here, This Is Stieglitz Here
Artist:Francis Picabia (French, Paris 1879–1953 Paris)
Date:1915
Medium:Ink, graphite, and collage of printed papers on paper
Dimensions:29 7/8 in. × 20 in. (75.9 × 50.8 cm)
Classification:Drawings
Credit Line:Alfred Stieglitz Collection, 1949
Object Number:49.70.14
Inscription: Signed, dated, and inscribed (lower right, in black ink): F. Picabia/ 1915/ New York; inscribed (upper left, in black ink): ICI, C'EST ICI STIEGLITZ/ FOI ET AMOUR; inscribed (upper center, in black ink): IDEAL
Alfred Stieglitz, New York (1915–d. 1946; acquired from the artist; his estate, 1946–49; gift to MMA)
New York. Modern Gallery. "Paintings by Picabia, Braque, Picasso; Photographs by Alfred Stieglitz," October 7–November 13, 1915, no catalogue.
New York. An American Place. "Beginnings and Landmarks: "291," 1905–1917," October 27–December 27, 1937, no. 66 (as "Stieglitz").
Philadelphia Museum of Art. "History of an American, Alfred Stieglitz: '291' and After, Selections from the Stieglitz Collection," July 1–November 1, 1944, no. 169 (as "Ici, c'est ici Stieglitz") [loan extended until January 1947].
New York. Whitney Museum of American Art. "The Decade of the Armory Show: New Directions in American Art 1910–1920," February 27–April 14, 1963, no. 75 (as "Cover for 291, 'Ici, c'est ici Stieglitz'").
City Art Museum of St. Louis. "The Decade of the Armory Show: New Directions in American Art 1910–1920," June 1–July 14, 1963, no. 75.
Cleveland Museum of Art. "The Decade of the Armory Show: New Directions in American Art 1910–1920," August 6–September 15, 1963, no. 75.
Philadelphia. Pennsylvania Academy of the Fine Arts. "The Decade of the Armory Show: New Directions in American Art 1910–1920," September 30–October 30, 1963, no. 75.
Art Institute of Chicago. "The Decade of the Armory Show: New Directions in American Art 1910–1920," November 15–December 29, 1963, no. 75.
Buffalo. Albright-Knox Art Gallery. "The Decade of the Armory Show: New Directions in American Art 1910–1920," January 20–February 23, 1964, no. 75.
Museum of Modern Art, New York. "The Machine as Seen at the End of the Mechanical Age," November 25, 1968–February 9, 1969, unnumbered cat. (p. 87; as "Ici, c'est ici Stieglitz (Here, This is Stieglitz)").
Houston. University of St. Thomas. "The Machine as Seen at the End of the Mechanical Age," March 25–May 18, 1969, unnumbered cat.
San Francisco Museum of Art. "The Machine as Seen at the End of the Mechanical Age," June 23–August 24, 1969, unnumbered cat.
New York. Solomon R. Guggenheim Museum. "Francis Picabia," September 17–December 6, 1970, no. 42 (as "Here, This is Stieglitz. (Ici, c'est ici Stieglitz).").
Paris. Galeries nationales du Grand Palais. "Francis Picabia," January 23–March 29, 1976, no. 56 (as "Ici, c'est ici Stieglitz").
New York. Wildenstein Gallery. "Modern Portraits: The Self and Others," October 20–November 28, 1976, no. 93 (as "This is Stieglitz (Ici, c'est ici Stieglitz)").
Paris. Centre National d'Art et de Culture Georges Pompidou, Musée National d'Art Moderne. "Paris—New York," June 1–September 19, 1977, unnumbered cat. (p. 226; as "Ici, c'est ici Stieglitz").
Berlin. Neue Nationalgalerie. "Tendenzen der Zwanziger Jahre," August 14–October 16, 1977, no. 3/689 (as "Ici, c'est ici Stieglitz").
Frankfurt. Städtische Galerie im Städelschen Kunstinstitut. "DaDa in Europa: Werke und Dokumente," November 10, 1977–January 8, 1978, no. 3/689 (as "Ici, c'est ici Stieglitz").
London. Hayward Gallery. "Dada and Surrealism Reviewed," January 11–March 27, 1978, no. 2.35 (as "Ici, c'est Stieglitz. (Here, this is Stieglitz)").
Museo de Arte Contemporaneo de Caracas. "El Espíritu Dada 1915-1925," November 14, 1980–January 15, 1981, unnumbered cat. (p. 185; as "Aqui esta Stieglitz/Ici, c'est Stieglitz").
Städtische Kunsthalle Düsseldorf. "Francis Picabia," October 29–December 4, 1983, no. 24 (as "Ici, c'est ici Stieglitz–Foi et amour").
Kunsthaus Zürich. "Francis Picabia," February 3–March 25, 1984, no. 24.
Moderna Museet, Stockholm. "Francis Picabia," April 7–May 25, 1984, no. 22 (as "Ici, c'est ici Stieglitz–Foi et amour").
New York. Museum of Modern Art. "High and Low: Modern Art, Popular Culture," October 7, 1990–January 15, 1991, unnumbered cat. (fig. 63; as "Ici, c'est ici Stieglitz").
New York. The Metropolitan Museum of Art. "As They Were: 1900–1929," April 9–September 8, 1996, no catalogue.
New York. The Metropolitan Museum of Art. "Artists' Artists," July 2–November 14, 2004, no catalogue.
New York. The Metropolitan Museum of Art. "Stieglitz and His Artists: Matisse to O'Keeffe," October 13, 2011–January 2, 2012, no. 18.
Museum of Modern Art, New York. "Francis Picabia: Our Heads Are Round so Our Thoughts Can Change Direction," November 20, 2016–March 19, 2017, unnumbered cat. (pl. 30; as "Ici, c'est ici Stieglitz (Here, This is Stieglitz Here)").
291 no. 5-6 (July–August 1915), ill. front cover (color).
"Art Notes: Many Enjoyable Paintings in Modern Gallery—Women's Work." New York Times (October 9, 1915), p. 8.
Peter Minuit [Paul Rosenfeld]. "'291 Fifth Avenue'." Seven Arts 1 (November 1916), p. 61.
Gabrielle Buffet-Picabia. "Some Memories of Pre-Dada: Picabia and Duchamp." The Dada Painters and Poets: An Anthology. Ed. Robert Motherwell. New York, 1951, pp. 257–58, ill. p. 137 ("291" cover).
Gabrielle Buffet-Picabia. Aires Abstraites. Geneva, 1957, p. 159.
Michel Sanouillet. Picabia. Paris, 1964, ill. p. 96, calls it "Idéal".
William A. Camfield. "The Machinist Style of Francis Picabia." Art Bulletin 48 (September–December 1966), p. 314, fig. 8, calls it "Ici, c'est ici Stieglitz".
William S. Rubin. Dada and Surrealist Art. New York, [1968], pp. 56, 490, calls it "Ici, c'est ici Stieglitz".
William S. Rubin. Dada, Surrealism, and Their Heritage. Exh. cat., Museum of Modern Art. New York, 1968, p. 27, fig. 23, calls it "Ici, C'est Ici Stieglitz".
William Agee. "New York Dada, 1910–30." The Avant-Garde. Ed. Thomas B. Hess and John Ashbery. New York, 1968, p. 109, ill.
K. G. Pontus Hultén. The Machine as Seen at the End of the Mechanical Age. Exh. cat., Museum of Modern Art. New York, 1968, pp. 87–88, 93, ill.
Françoise Will-Levaillant. "Picabia et la machine: Symbole et abstraction." Revue de l'art no. 4 (1969), p. 79.
George Heard Hamilton. "The Alfred Stieglitz Collection." Metropolitan Museum Journal 3 (1970), p. 381, fig. 1, calls it "Ici, c'est ici Stieglitz" in caption and "Ici, c'est ici Stieglitz (Here, This is Stieglitz Here)" in text.
William A. Camfield. Francis Picabia. Exh. cat., Solomon R. Guggenheim Museum. New York, 1970, pp. 24, 88, no. 42, ill.
Sam Hunter and John Jacobus. American Art of the 20th Century: Painting, Sculpture, Architecture. New York, 1973, p. 86, fig. 143, call it "Ici, c'est ici Alfred Stieglitz?" in caption and "Portrait of Alfred Stieglitz" in text.
Dorothy Norman. Alfred Stieglitz: An American Seer. New York, 1973, pp. 126–27, fig. 60 ("291" cover).
William Innes Homer. "Picabia's 'Jeune fille américaine dans l'état de nudité' and Her Friends." Art Bulletin 57 (March 1975), pp. 111, 114–15, fig. 2 ("291" cover), calls it "Ici, c'est ici Stieglitz" in caption and "Stieglitz" in text.
Dickran Tashjian. Skyscraper Primitives: Dada and the American Avant-Garde, 1910–1925. Middletown, Conn., 1975, pp. 37–38.
Marc Le Bot et al. Junggesellenmaschinen: Les Machines Célibataires. Exh. cat., Kunsthalle Bern. Venice, 1975, pp. 210–11, ill. p. 178, call it "Idéal" in caption and "Ici, c'est ici Stieglitz" in the text.
J. Kirk T. Varnedoe inModern Portraits: The Self and Others. Ed. J. Kirk T. Varnedoe. Exh. cat., Wildenstein. New York, 1976, p. xiv, fig. 4, calls it "Stieglitz".
Kristin A. Kelly inModern Portraits: The Self & Others. Ed. J. Kirk T. Varnedoe. Exh. cat., Wildenstein. New York, 1976, pp. 126–27, 194, no. 93, ill.
Dawn Ades. Dada and Surrealism Reviewed. Exh. cat., Hayward Gallery. [London], 1978, pp. 36, 52, no. 2.35.
William A. Camfield. Francis Picabia: His Art, Life and Times. Princeton, 1979, pp. 82–84, 285, fig. 107, calls it "Ici, c'est ici Stieglitz (Here, This is Stieglitz)".
Milton W. Brown et al. American Art: Painting, Sculpture, Architecture, Decorative Arts, Photography. New York, 1979, p. 433, pl. 459, call it "Ici, c'est ici Alfred Stieglitz?".
Howard Hibbard. The Metropolitan Museum of Art. New York, 1980, pp. 502, 513, fig. 909, calls it "Ici, c'est ici Stieglitz foi et amour".
Willard Bohn. "The Abstract Vision of Marius de Zayas." Art Bulletin 62 (September 1980), pp. 446–47, fig. 16 ("291" cover), calls it "Ici, c'est ici Stieglitz".
Gabrielle Buffet-Picabia. "Some Memories of Pre-Dada: Picabia and Duchamp." The Dada Painters and Poets: An Anthology. Ed. Robert Motherwell. 2nd ed. (1st ed., 1951). Boston, 1981, pp. 257–58, ill. p. 137 ("291" cover), reprints Ref. Buffet-Picabia 1951.
[Herbert] Schuldt. Francis Picabia. Exh. cat., Städtische Kunsthalle Düsseldorf. Cologne, 1983, p. XXIII.
Marianne Heinz inFrancis Picabia. Exh. cat., Städtische Kunsthalle Düsseldorf. Cologne, 1983, p. 171, no. 24, ill. p. 47.
Maria Lluïsa Borràs. Picabia. New York, 1985, pp. 155–56, 509, no. 171, fig. 278.
Sherrye Cohn. Arthur Dove: Nature as Symbol. Ann Arbor, Mich., 1985, p. 103, calls it "Ici, c'est ici Stieglitz".
Timothy Clifford et al. Picabia: 1879–1957. Exh. cat., Scottish National Gallery of Modern Art at the Royal Scottish Academy. Edinburgh, 1988, p. 153, ill. ("291" cover).
Judi Freeman inThe Dada and Surrealist Word-Image. Exh. cat., Los Angeles County Museum of Art. Los Angeles, 1989, p. 27, fig. 15, calls it "Ici, c'est ici Stieglitz (Here, this here is Stieglitz)".
Kirk Varnedoe. High and Low: Modern Art, Popular Culture. Exh. cat., Museum of Modern Art. New York, 1990, pp. 268–70, fig. 63, generally discusses Picabia's object-portraits.
Arnauld Pierre. "Sources inédites pour l'oeuvre machiniste de Francis Picabia, 1918–1922." Bulletin de la Société de l'Histoire de l'Art français (March 1991), pp. 256–57, calls it "Ici, c'est ici Stieglitz".
Francis M. Naumann. New York Dada, 1915–23. New York, 1994, p. 60, ill. ("291" cover), calls it "Ici, c'est ici Stieglitz / Foi et Amour (Here, This is Stieglitz / Faith and Love)".
Barbara Haskell. Joseph Stella. Exh. cat., Whitney Museum of American Art. New York, 1994, p. 71, fig. 87, calls it "Ici, c'est ici Stieglitz".
William Rozaitis. "The Joke at the Heart of Things: Francis Picabia's Machine Drawings and the Little Magazine '291'." American Art 8 (Summer–Autumn 1994), pp. 43, 46–49, 51, 53, 55–56, fig. 1, calls it "Ici, c'est ici Stieglitz".
Richard Whelan. Alfred Stieglitz: A Biography. Boston, 1995, pp. 349–50.
Cathy Bernheim. Picabia. Paris, 1995, pp. 81–82, ill. plate section p. VII, calls it "Ici, c'est ici Stieglitz".
Beth Venn inMaking Mischief: Dada Invades New York. Exh. cat., Whitney Museum of American Art. New York, 1996, pp. 274–75, ill. p. 272 ("291" cover), calls it "Ici, c'est ici Stieglitz/Foi et amour (Here, This is Stieglitz/Faith and Love)".
Todd Alden inMaking Mischief: Dada Invades New York. Exh. cat., Whitney Museum of American Art. New York, 1996, p. 52, ill. p. 56 ("291" cover), calls it "Ici, c'est ici Stieglitz/Foi et amour (Here, This is Stieglitz/Faith and Love)".
Rosalind Krauss inMaking Mischief: Dada Invades New York. Exh. cat., Whitney Museum of American Art. New York, 1996, p. 249.
Pedro Lapa inFrancis Picabia: Antologia/Anthology. Ed. Clara Távora Vilar. Exh. cat., Centro Cultural de Belém. Belém, Portugal, 1997, pp. 20–23, ill. (color), calls it "Ici, c'est ici Stieglitz".
Marcia Brennan. "Alfred Stieglitz and New York Dada: Faith, Love and the Broken Camera." History of Photography 21 (Summer 1997), p. 156, fig. 1, calls it "Ici, c'est ici Stieglitz".
Rosalind E. Krauss. The Picasso Papers. New York, 1998, p. 124, fig. 24, calls it "Ici, C'est Ici Stieglitz".
Carole Boulbès. Picabia: Le Saint masqué. Paris, 1998, p. 13 n. 4, p. 147, ill. p. 14 (color; "291" cover), calls it "Ici c'est Stieglitz".
Wanda M. Corn. The Great American Thing: Modern Art and National Identity, 1915–1935. Berkeley, 1999, pp. 23–24, 364 n. 66, p. 415, fig. 8, calls it "Ici, c'est ici Stieglitz".
Pepe Karmel inModern Art and America: Alfred Stieglitz and His New York Galleries. Exh. cat., National Gallery of Art. Washington, D. C., 2000, pp. 213, 216–17, 509 n. 46, pl. 59 (color; "291" cover), calls it "Ici, c'est ici Stieglitz" in the text and "Here, This is Stieglitz/Faith and Love" in the caption.
Vivien Green Fryd. "Georgia O'Keeffe's 'Radiator Building': Gender, Sexuality, Modernism, and Urban Imagery." Winterthur Portfolio 35 (Winter 2000), p. 273, fig. 5, calls it "lci, c'est ici Stieglitz".
Willard Bohn. The Rise of Surrealism: Cubism, Dada, and the Pursuit of the Marvelous. Albany, 2002, pp. 58–61, 221 n. 51, fig. 3.10, calls it "Here, Here is Stieglitz".
Arnauld Pierre. Francis Picabia: La peinture sans aura. Paris, 2002, pp. 131–32, calls it "Ici, c'est ici Stieglitz".
Vivien Green Fryd. Art and the Crisis of Marriage: Edward Hopper and Georgia O'Keeffe. Chicago, 2003, pp. 157–58, fig. 94, calls it "Ici, c'est ici Stieglitz".
Dickran Tashjian. "Magnetic Fields in Manhattan: Stieglitz, Dada, and the Photography Debate." Crisis and the Arts: The History of Dada. Vol. 8 Dada, New York: New World for Old. Ed. Martin Ignatius Gaughan and Stephen C. Foster. Farmington Hills, Mich., 2003, pp. 66–67, fig. 4.9 ("291" cover), calls it "Ici, C'est ici Stieglitz / Foi et Amour".
William Camfield inNew York et l'art moderne: Alfred Stieglitz et son cercle (1905-1930). Exh. cat., Musée d'Orsay. Paris, 2004, pp. 132–33, ill. p. 163 (color; "291" cover), fig. 40 (color; "291" cover), calls it "Ici, c'est ici Stieglitz".
Uwe Fleckner inPorträt ohne Antlitz: Abstrakte Strategien in der Bildniskunst. Ed. Dirk Luckow and Petra Gördüren. Exh. cat., Kunsthalle zu Kiel. Kiel, 2004, pp. 23–24, fig. 9 (color; "291" cover), calls it "Ici, c'est ici Stieglitz".
John Carlin and Jonathan Fineberg. Imagining America: Icons of 20th-Century American Art. New Haven and London, 2005, p. 35, call it "Ici, c'est ici Stieglitz (Here, This is Stieglitz)".
Jay Bochner. An American Lens: Scenes from Alfred Stieglitz's New York Secession. Cambridge, Mass., 2005, pp. 138, 144–45, 337 n. 34, fig. 5.15 ("291" cover), calls it "Ici, c'est ici Stieglitz" in text and "Ici, c'est ici Stieglitz, foi et amour" in caption.
George Baker. The Artwork Caught by the Tail: Francis Picabia and Dada in Paris. Cambridge, Mass., 2007, pp. 16, 20, 202, 265, 406 n. 6, ill. p. 203 ("291" cover), calls it "Portrait of Stieglitz" in the text and "Ici, c'est ici Stieglitz" in caption.
Jessica Murphy inStieglitz and His Artists: Matisse to O'Keeffe. The Alfred Stieglitz Collection in The Metropolitan Museum of Art. Ed. Lisa Mintz Messinger. Exh. cat., The Metropolitan Museum of Art. New York, 2011, pp. 43, 47, 247, 315 n. 10, no. 18, ill. (color) pp. 47, 247.
Lauren Kroiz. Creative Composites: Modernism, Race, and the Stieglitz Circle. Berkeley, 2012, pp. 85, 87, fig. 39 ("291" cover), calls it "Ici, c'est ici Stieglitz".
Carole Boulbès inFrancis Picabia: Our Heads Are Round so Our Thoughts Can Change Direction. Exh. cat., Kunsthaus Zürich. New York, 2016, pp. 139, 343, colorpl. 30.
William A. Camfield et al. Francis Picabia: Catalogue Raisonné. Vol. 2, 1915–1927. Brussels, 2016, pp. 40–43, 51, 195–96, 207–8, no. 497, ill. (color), fig. 141 (color; "291" cover), call it "Ici, c'est Ici Stieglitz, Foi et Amour (maquette)".
Emma Acker inCult of the Machine: Precisionism and American Art. Exh. cat., de Young, San Francisco. San Francisco, 2018, p. 15, fig. 3 (color).
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