中文简介：

这本出版物是Francis Picabia（1879-1953）作品集的第四卷，展示了Picabia1940年至1952年的绘画和精选素描。在战争年代，Picabia仍然居住在法国南部的时候，他主要致力于创作人物题材——多人物寓言、女性裸体和迷人的女性肖像。即使在他的一生中，他的大部分作品都是臭名昭著的，现在人们都知道，这些作品是根据旧的“少女”杂志和其他流行媒体上的照片插图改编的。

战后回到巴黎后，Picabia重新拾起了他早期对抽象艺术和非客观艺术的兴趣，仍然经常借鉴从史前艺术到尼采的出版资料，并频繁地展示他对当时批评潮流的独特的、不断变化的反应。这些作品包括从1949年开始的一系列非常简化、巧妙有效的“点”或圆点画——三年后，身体不适使Picabia结束了半个世纪的艺术挑衅。

英文简介：

This publication, the fourth volume of an important catalogue raisonné of the work of Francis Picabia (1879–1953), includes paintings and selected drawings dating from 1940 into 1952. During the war years, while still residing in the south of France, Picabia was primarily occupied by figural subjects⁠—multi-figure allegories, female nudes, and glamorous female "portraits"⁠—painted in bold illusionistic relief. Notorious even in his lifetime, most of these works are now known to have adapted photographic illustrations in older "girly" magazines and other popular media.

Upon his return to Paris in the post-war period, Picabia renewed his earlier interests in abstract and sometimes non-objective art, still often drawing upon published sources ranging from prehistoric art to Nietzsche, and pursued frequent exhibition of his distinctive, constantly mutating responses to critical currents of the day. These included a series of severely reductive, subtly effective "point" or dot paintings beginning in 1949—three years before ill-health effectively ended Picabia's half-century of artistic provocation.