The Birth of the First Combined Materials Art, Pablo Picasso, Still Life whipped with a Chair, 1912
Picasso had just returned to Paris in September 1912 after frequent interactions with Braque at Sorgues. The exchange between the two artists of this period was later described by Braque as "no one but us can understand". One day, Braque passed by an Avignon wallpaper shop and found some wood grain wallpaper. He immediately went in and bought some. Back in the studio, he began pasting some wood grain paper graphics on the surfaces of several large charcoal paintings. "I was so shocked after making the first paper collage, and it was even more shocking for him when I showed it to Picasso," Braque later recalled.
Braque works
After returning to Paris, Picasso also immediately began to create collage art, and he created nearly a hundred collage works of art in a row. In Guitar and Sheet Music, one of Picasso's earliest collages, he pasted and layered the paper to create shadows and structures. Early collages were also filled with fragments of popular songs, fake wood grain paper, and fragments of bodies, faces, instruments, and other objects. Picasso, like a surgeon dissecting, conducts research on the art of collage.
It didn't take long for other artists in Paris to capture this exciting new creative means of immersing Braque and Picasso. Spanish artist Juan Gris is an unwavering two-dimensional artist who continues to develop his two-dimensional art using collage. His collage art has been described as the most complex drawing of his time. Futurist artists also quickly took over the collage style. In the art of the futurist Bochoni, it became a method of enriching the surface, and Carla also added a pasted element to his "free text" creation. Barra also used collage to make a visually removable version of the 3D structure.
Works by Juan Gris
Bojoni works
Constructivism and supremacism In Russia, the art world is also filled with collages by Picasso and Braque. Importantly, here, the revolutionary experiments carried out in art are collaborations between writers and visual artists. The term is a major area of exploration and an important element in the artist's collage.
Malevich's women in poster columns began using collage elements in 1914. A variety of pasted languages appear in this painting.
The First World War of Dada produced Dada. In their method of combining paper paste, the Dadaists have many similarities with the Cubists. One of them was Hans Arp, who came to Paris in 1914 to escape German conscription, where he must have seen Picasso and Braque on paper. By November 1915, Arp had fled Paris to neutral Zurich and exhibited collages at the Tanner Gallery.
Kurt Schwitters has made a significant contribution to the art of pasting, with paper pictures and bas-reliefs of various crumbs he finds on the streets. Hannah H ch Hannah Hoch was the most iconic collage style work of that period. She began creating her montage photos, using childlike replacement techniques – wrong heads on the wrong body, reshuffling cards, etc. Through her work, she explores gender roles and politics, questioning the way society views itself.
The Relief Combination, Repainting and Photo Collage techniques of the Surrealist Dadaists influenced Surrealism. For surrealist artists, "collage" no longer requires only paper and glue. The Surrealists were fascinated by the words. Max Ernst blended visual and linguistic in collage novels of the late 1920s. In 1930, Louis Aragon organized an exhibition dedicated to collage in Galerie Goemans. Although they didn't actually make collages, they used the principles of collage. Then there's Joan Miro. Miró's long-term reluctance to describe his work as "painting" is precisely the collage effect that creates the gap between the two. Miro's paintings have been expecting collage, and collage is helping him find freedom from a rigid understanding of what art is and what it might be.
Matisse paper-cutting In the late 1940s, in the last decade of his life, Henri Matisse underwent a major shift in his approach to art, using paper-cutting as his main medium, using scissors as his tool. His new work is called paper-cutting. The medium of tailoring has allowed Matisse to finally create the kind of monumental work he has long wanted to do, beyond the limitations of painting on the shelf.
Collage in Pop Art Pop Art emerged in the UK with independent groups in the 1950s. Members of the group, Eduardo Paolozzi and Richard Hamilton, made the most of the collage. What is it about Richard Hamilton's collage that makes today's home so different and so appealing? From 1956 onwards, often referred to as the first work of Pop Art, it presented an indoor scene of a variety of different objects composed of various materials.
Although collage-like application techniques were used before the 20th century, some artistic authorities believe that collage, correctly, did not appear until after 1900, when combined with the early stages of modernism.
For example, Tate's online art glossary states that collage "was first used as an artist's technique in the 20th century." According to the Guggenheim Museum's online glossary of art, collage is an artistic concept associated with the origins of modernism that encompasses more than the idea of gluing something to something else. These new works "give each medium some characteristics of another". It introduces external references "references to current events, such as the Balkan wars, as well as popular culture, that enrich their artistic content." It's the inspiration behind collage: "Emphasizing concepts and processes rather than the final product, collage meaningfully blends the incongruous with the mundane."
Today, collage has been telling the story of each different artistic generation and the world they experienced in fascinating ways. Collage is the most iconic work we've experienced over the past 100 years. "Many young artists continue to use collage. It is a language of its own, a specific way of thinking, observing, working, and being. As culture becomes more and more ubiquitous, we humans return to the work of craftsmanship because of our visceral, primitive need for touch and connection, and through it we feel rooted in a certain culture, tradition, or a geographic location. Young artists return to a world where they tear, tear, paste, and work, mixing artistic creation and thinking that is the basis of contemporary aesthetics and the way contemporary life works. ”