A Sophisticated Take On Morée's Drips
Francis Picabia’s
Jeanne Marie Bourgeois (1917)
The resemblance is not thematic—it’s structural.
The drips, the scraping, the finger-painted swipes and
sabotage of glamour: all reappear, unmistakably.
But this is not homage. It’s a relay. Picabia saw Morée.
He absorbed it. And then he broadcast it.
Does this Picabia really cite Morée?
The Following Are Photographic Echoes.
Planted Like Contraband—Probably By Duchamp.
Belle Haleine by Marcel Duchamp and Man Ray (1921)
Look past the perfume bottle. In the photographic backdrop is a veil of vertical fluid—eerily reminiscent of Morée’s
dissolving wash. This is not a casual choice. The image was inserted by Man Ray, but the composition was likely Duchamp’s.
A background disguised as ephemera—a citation posing as coincidence. A Duchamp move through and through.
Da-Dandy by Hannah Höch (1919)
A clipped halftone photo—part of the collage background—carries the same motif: vertical fluid drips, almost identical in rhythm and weight to those in Morée. Höch likely sourced the image from a Dada-period publication. But the original print source has vanished—making its appearance in Da-Dandy feel less like chance and more like the final surviving trace of a Duchamp plant: circulated once, then lost.