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) is a technique of art creation, primarily used in the visual arts, but in music too, by which art results from an assemblage of differt forms, thus creating a new whole. (Compare with pastiche, which is a "pasting" together.)
A collage may sometimes include magazine and newspaper clippings, ribbons, paint, bits of colored or handmade papers, portions of other artwork or texts, photographs and other found objects, glued to a piece of paper or canvas. The origins of collage can be traced back hundreds of years, but this technique made a dramatic reappearance in the early 20th ctury as an art form of novelty.
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The term Papier collé was coined by both Georges Braque and Pablo Picasso in the beginning of the 20th ctury wh collage became a distinctive part of modern art.
Techniques of collage were first used at the time of the invtion of paper in China, around 200 BC. The use of collage, however, did not arise until the 10th ctury in Japan, wh calligraphers began to apply glued paper, using texts on surfaces, wh writing their poems.
The technique of collage appeared in medieval Europe during the 13th ctury. Gold leaf panels started to be applied in Gothic cathedrals around the 15th and 16th cturies. Gemstones and other precious metals were applied to religious images, icons, and also, to coats of arms.
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An 18th-ctury example of collage art can be found in the work of Mary Delany. In the 19th ctury, collage methods also were used among hobbyists for memorabilia (e.g. applied to photo albums) and books (e.g. Hans Christian Anders, Carl Spitzweg).
Many institutions have attributed the beginnings of the practice of collage to Picasso and Braque in 1912, however, early Victorian photocollage suggest collage techniques were practiced in the early 1860s.
Many institutions recognize these works as memorabilia for hobbyists, though they functioned as a facilitator of Victorian aristocratic collective portraiture, proof of female erudition, and prested a new mode of artistic represtation that questioned the way in which photography is truthful. In 2009, curator Elizabeth Siegel organized the exhibition: Playing with Pictures
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At the Art Institute Chicago to acknowledge collage works by Alexandra of Dmark and Mary Georgina Filmer among others. The exhibition later traveled to The Metropolitan Museum of Art
Hannah Höch, Cut with the Dada Kitch Knife through the Last Weimar Beer-Belly Cultural Epoch in Germany, 1919, collage of pasted papers, 90x144 cm, Staatliche Museum, Berlin.
Despite the pre-twtieth-ctury use of collage-like application techniques, some art authorities argue that collage, properly speaking, did not emerge until after 1900, in conjunction with the early stages of modernism.
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For example, the Tate Gallery's online art glossary states that collage "was first used as an artists' technique in the twtieth ctury".
According to the Guggheim Museum's online art glossary, collage is an artistic concept associated with the beginnings of modernism, and tails much more than the idea of gluing something onto something else. The glued-on patches which Braque and Picasso added to their canvases offered a new perspective on painting wh the patches "collided with the surface plane of the painting".
In this perspective, collage was part of a methodical reexamination of the relation betwe painting and sculpture, and these new works "gave each medium some of the characteristics of the other", according to the Guggheim essay. Furthermore, these chopped-up bits of newspaper introduced fragmts of externally referced meaning into the collision: "Referces to currt evts, such as the war in the Balkans, and to popular culture riched the contt of their art." This juxtaposition of signifiers, "at once serious and tongue-in-cheek", was fundamtal to the inspiration behind collage: "Emphasizing concept and process over d product, collage has brought the incongruous into meaningful congress with the ordinary."
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Pablo Picasso, 1913–14, Head (Tête), cut and pasted colored paper, gouache and charcoal on paperboard, 43.5 x 33 cm, Scottish National Gallery of Modern Art, Edinburgh
Collage in the modernist sse began with Cubist painters Georges Braque and Pablo Picasso. Snippets and fragmts of differt and unrelated subject matter made up Cubism collages, or papier collé, which gave them a deconstructed form and appearance.
According to some sources, Picasso was the first to use the collage technique in oil paintings. According to the Guggheim Museum's online article about collage, Braque took up the concept of collage itself before Picasso, applying it to charcoal drawings. Picasso adopted collage immediately after (and could be the first to use collage in paintings, as opposed to drawings):
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"It was Braque who purchased a roll of simulated oak-grain wallpaper and began cutting out pieces of the paper and attaching them to his charcoal drawings. Picasso immediately began to make his own experimts in the new medium."
Surrealist artists have made extsive use of collage and have swayed away from the still-life focus of Cubists. Rather, in keeping with surrealism, surrealist artists such as Joseph Cornell created collages consisting of fictional and strange, dream-like sces.
Cubomania is a collage made by cutting an image into squares which are th reassembled automatically or at random. Collages produced using a similar, or perhaps idtical, method are called etrécissemts by Marcel Mariën from a method first explored by Mariën. Surrealist games such as parallel collage use collective techniques of collage making.
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The Sidney Janis Gallery held an early Pop Art exhibit called the New Realist Exhibition in November 1962, which included works by the American artists Tom Wesselmann, Jim Dine, Robert Indiana, Roy Lichtstein, Claes Oldburg, James Rosquist, George Segal, and Andy Warhol; and Europeans such as Arman, Baj, Christo, Yves Klein, Festa, Mimmo Rotella, Jean Tinguely, and Schifano. It followed the Nouveau Réalisme exhibition at the Galerie Rive Droite in Paris, and marked the international debut of the artists who soon gave rise to what came to be called Pop Art in Britain and The United States and Nouveau Réalisme on the European contint. Many of these artists used collage techniques in their work. Wesselmann took part in the New Realist show with some reservations,
Another technique is that of canvas collage, which is the application, typically with glue, of separately painted canvas patches to the surface of a painting's main canvas. Well known for use of this technique is British artist John Walker in his paintings of the late 1970s, but canvas collage was already an integral part of the mixed media works of such American artists as Conrad Marca-Relli and Jane Frank by the early 1960s. The intsely self-critical Lee Krasner also frequtly destroyed her own paintings by cutting them into pieces, only to create new works of art by reassembling the pieces into collages.
The wood collage is a type that emerged somewhat later than paper collage. Kurt Schwitters began experimting with wood collages in the 1920s after already having giv up painting for paper collages.
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The principle of wood collage is clearly established at least as early as his 'Merz Picture with Candle', dating from the mid to late 1920s.
In a sse, wood collage made its debut indirectly at the same time as paper collage, since according to the Guggheim online, Georges Braque initiated use of paper collage by cutting out pieces of simulated oak-grain wallpaper and attaching them to his own charcoal drawings.
Thus, the idea of gluing wood to a picture was implicit from the start, since the paper used was a commercial product manufactured to look like wood.
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It was during a fifte-year period of intse experimtation beginning in the mid-1940s that Louise Nevelson evolved her sculptural wood collages, assembled from found scraps, including parts of furniture, pieces of wood crates or barrels, and architectural remnants like stair railings or moldings. Gerally rectangular, very large, and painted black, they resemble gigantic paintings. Concerning Nevelson's Sky Cathedral (1958), the Museum of Modern Art catalogue states, "As a rectangular plane to be viewed from the front, Sky Cathedral has the pictorial quality of a painting..."
Yet such pieces also prest themselves as massive walls or monoliths, which can sometimes be viewed from either side, or ev looked through.
Much wood collage art is considerably smaller in scale, framed and hung as a painting would be. It usually features pieces of wood, wood shavings, or scraps, assembled on a canvas (if there is painting involved), or on a wood board. Such framed, picture-like, wood-relief collages offer the artist an opportunity to explore the qualities of depth, natural color, and textural variety inhert in the material, while drawing on and taking advantage of the language, convtions, and historical resonances that arise from the tradition of creating pictures to hang on walls. The technique of wood collage is also sometimes combined with painting and other media in a single work of art.
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Frequtly, what is called "wood collage art" uses only natural wood - such as driftwood, or parts of found and unaltered logs, branches, sticks, or bark. This raises the question of whether such artwork is collage
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