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"Collage" is a common misspelling of College.
For other uses, see Collage (disambiguation).
A collage composed of magazine articles and pictures
A collage (From the French: coller, to glue) is a work of formal art, primarily in the visual arts, made from an assemblage of different forms, thus creating a new whole. Use of this technique made its dramatic appearance among oil paintings in the early 20th century as an art form of groundbreaking novelty.
An artistic collage work may include newspaper clippings, ribbons, bits of colored or hand-made papers, portions of other artwork, photographs, and such, glued to a piece of paper or canvas.
Techniques of collage were first used at the time of the invention of paper in China around 200 BC. The use of collage, however, remained very limited until the 10th century in Japan, when calligraphers began to apply glued paper, using texts on surfaces, when writing their poems.
The technique of collage appeared in medieval Europe during the 13th century. Gold leaf panels started to be applied in Gothic cathedrals around the 15th and 16th centuries. Gemstones and other precious metals were applied to religious images, icons, and also, to coats of arms.
In the 19th century, collage methods also were used among hobbyists for memorabilia (i.e. applied to photo albums) and books (i.e. Hans Christian Andersen, Carl Spitzweg).Leland, Nita; Virginia Lee Williams (September 1994). "One", Creative Collage Techniques (in English). North Light Books, 7. ISBN 0-8913-4563-9.
The term collage derives from the French "coller" meaning "glue".Brief history of the term "collage" - Online Magazine for watercolor and acrylic artists - by Denise Enslen This term was coined by both Georges Braque and Pablo Picasso in the beginning of the 20th century when collage became a distinctive part of modern art.
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Despite the pre-twentieth-century use of collage-like application techniques, authorities on art history generally do not consider collage, properly speaking, to have emerged until after 1900, in conjunction with the early stages of modernism. For example, the Tate Gallery\'s online art glossary states flatly that collage "was first used as an artists\' technique in the twentieth century." [1]. Additionally, the Guggenheim Museum\'s online art glossary plainly states that Braque and Picasso invented collage — which would obviously imply that any earlier artworks which might technically have anticipated collage were nevertheless not collage. Collage, according to these sources, is an artistic concept associated with the beginnings of modernism and entails much more than the idea of gluing something onto something else. The glued-on patches which Braque and Picasso added to their canvases "collided with the surface plane of the painting." [2] This was part of a methodical reexamination of the relation between painting and sculpture, and these new works "gave each medium some of the characteristics of the other," according to the Guggenheim essay. Furthermore, these chopped-up bits of newspaper introduced fragments of externally referenced meaning into the collision: "References to current events, such as the war in the Balkans, and to popular culture enriched the content of their art." This juxtaposition of signifiers, "at once serious and tongue-in-cheek," was fundamental to the inspiration behind collage: "Emphasizing concept and process over end product, collage has brought the incongruous into meaningful congress with the ordinary." [3] Arguably, any work of art which involves the application (with glue or by any other means) of things to a surface, but which lacks this purposeful incongruity, this quality of fragmented signifiers colliding, is not truly collage in any important sense.
Collage in the modernist sense began with Cubist painters Georges Braque and Pablo Picasso. According to some sources, Picasso was the first to use the collage technique in oil paintings. According to the Guggenheim 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 was perhaps indeed the first to use collage in paintings):
"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 experiments in the new medium." [4]
In 1912 for his Still Life with Chair Caning (Nature-morte à la chaise cannée),Nature-morte à la chaise cannée - Musée National Picasso Paris Picasso pasted a patch of oilcloth with a chair-cane design onto the canvas of the piece.
Surrealist artists have made extensive use of collage. Cubomania is a collage made by cutting an image into squares which are then reassembled automatically or at random. Inimage is a name given by René Passerson to what is usually considered a style of surrealist collage (though it perhaps qualifies instead as a decollage) in which parts are cut away from an existing image to reveal another image.
Collages produced using a similar, or perhaps identical, method are called etrécissements by Richard Genovese from a method first explored by Marcel Mariën. Genovese also introduced excavation collage (that includes elements of decollage) which is the layering of printed images, loosely affixed at the corners and then tearing away bits of the upper layer to reveal images from underneath, thereby introducing a new collage of images. Penelope Rosemont invented some methods of surrealist collage, the prehensilhouette and the landscapade.
Collage was often called the art form of the twentieth century, but this was never fully realized.
Surrealist games such as parallel collage use collective techniques of collage making.
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 intensely self-critical Lee Krasner also frequently destroyed her own paintings by cutting them into pieces, only to create new works of art by reassembling the pieces into collages.
Though Le Corbusier and others used techniques that are akin to collage, collage as a theoretical concept only became widely discussed after the publication of Collage City by Colin Rowe and Fred Koetter in 1978. The authors were, however, not championing collage in the pictorial sense, much less seeking the types of disruptions of meaning that occur with collage. Instead they were looking to challenge the uniformity of Modernism and saw collage with its non-linear notion of history as a means to reinvigorate design practice. Not only does historical urban fabric have its place, but in studying it, designers were, so it was hoped, able to get a sense of how better to operate. Rowe was a member of the so-called Texas Rangers, a group of architects who taught at the University of Texas for a while. Another member of that group was Bernhard Hoesli, a Swiss architect who went on to become an important educator at the ETH-Zurirch. Whereas for Rowe, collage was more a metaphor than an actual practice, Hoesli actively made collages as part of his design process. He was close to Robert Slutzky, a New York based artist, and frequently introduced the question of collage and disruption in his studio work....
It is also interesting to note that wood collage in a sense made its debut, indirectly, at the same time as paper collage, since (according to the Guggenheim 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 [8]. The idea of gluing wood to a picture was implicitly there from the start, since the paper used in the very first paper collages was a commercial product manufactured to look like wood.
It was during a fifteen-year period of intense experimentation beginning in the mid 1940s that Louise Nevelson evolved her sculptural wood collages, assembled from found scraps, including parts of furniture, pieces of wooden crates or barrels, and architectural remnants like stair railings or moldings. Generally 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..." Louise Nevelson - The Museum of Modern Art, MoMA Highlights, New York: The Museum of Modern Art, revised 2004, originally published 1999, p. 222 Yet such pieces also present themselves as massive walls or monoliths, which can sometimes be viewed from either side, or even 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 wooden board. Such framed, picture-like, wood-relief collages offer the artist an opportunity to explore the qualities of depth, natural color, and textural variety inherent in the material, while drawing on and taking advantage of the language, conventions, and historical resonances that arise from the tradition of creating pictures to hang on walls. Contemporary examples of this technique can be found in the works of Geeta Chaudhuri, a wood collage artist from India. The technique of wood collage is also sometimes combined with painting and other media in a single work of art.
Frequently, 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 (in the original sense) at all (see Collage and modernism). This is because the early, paper collages were generally made from bits of text or pictures - things originally made by people, and functioning or signifying in some cultural context. The collage brings these still-recognizable "signifiers" (or fragments of signifiers) together, in a kind of semiotic collision. A truncated wooden chair or staircase newel used in a Nevelson work can also be considered a potential element of collage in the same sense: it had some original, culturally determined context. Unaltered, natural wood, such as one might find on a forest floor, arguably has no such context. (Driftwood is of course sometimes ambiguous: while a piece of driftwood may once have been a piece of worked wood - for example, part of a ship - it may be so weathered by salt and sea that its past functional identity is nearly or completely obscured.)
The concept of collage has crossed the boundaries of visual arts. In music, with the advances on recording technology, avant-garde artists started experimenting with cutting and pasting since the middle of the twentieth century. George Martin created collages of recordings while producing the records of The Beatles. By the 1990s and 2000s it became apparent that "musical collages" had become the norm for popular music, especially on rap, hip hop (rap-pop), and electronic music[citation needed].
Digital collage is the technique of using [computer] tools in collage creation to encourage chance associations of disparate visual elements and the subsequent transformation of the visual results through the use of electronic media.
Collage novels are books with images selected from other publications and collaged together following a theme or narrative.
The bible of discordianism, the Principia Discordia, is described by its author as a literary collage. A collage in literary terms may also refer to a layering of ideas or images.
Collage of some of Gray\'s muscle pictures of the ventral part of the human body
Decoupage is a type of collage usually defined as a craft. It is the process of placing a picture onto an object for decoration. Often decoupage causes the picture to appear to have depth and look as though it had been painted on the object.
The process is to glue (or otherwise affix) a picture to an object, then adding more copies of the picture on top, progressively cutting out more and more of the background, giving the illusion of depth in the picture. The picture is often coated with varnish or some other sealant for protection.
Collage made from photographs, or parts of photographs, is called photomontage. Photomontage is the process (and result) of making a composite photograph by cutting and joining a number of other photographs. The composite picture was sometimes photographed so that the final image is converted back into a seamless photographic print. The same method is accomplished today using image-editing software. The technique is referred to by professionals as "compositing", and in casual internet usage it is often called "photoshopping".
Other methods for combining pictures are also called photomontage, such as Victorian "combination printing", the printing from more than one negative on a single piece of printing paper (e.g. O. G. Rejlander, 1857), front-projection and computer montage techniques. Much like a collage is composed of multiple facets, artists also combine montage techniques. Romare Bearden’s (1912-1988) series of black and white "photomontage projections" is an example. His method began with compositions of paper, paint, and photographs put on boards 8 1/2x11 inches. Bearden fixed the imagery with an emulsion that he then applied with handroller. Subsequently, he enlarged the collages photographically.
The 19th century tradition of physically joining multiple images into a composite and photographing the results prevailed in press photography and offset lithography until the widespread use of digital image editing. Contemporary photo editors in magazines now create "paste-ups" digitally.
Creating a photomontage has, for the most part, become easier with the advent of computer software such as Adobe Photoshop, Pixel image editor, and GIMP. These programs make the changes digitally, allowing for faster workflow and more precise results. They also mitigate mistakes by allowing the artist to "undo" errors. Yet some artists are pushing the boundaries of digital image editing to create extremely time-intensive compositions that rival the demands of the traditional arts. The current trend is to create pictures that combine painting, theatre, illustration and graphics in a seamless photographic whole.
When collage uses existing works, the result is what some copyright scholars call a derivative work. The collage has a copyright separate from any copyrights pertaining to the original incorporated works.
Due to redefined and reinterpreted copyright laws, and increased financial interests, some forms of collage art are significantly restricted. For example, in the area of sound collage (such as hip hop music), some court rulings effectively have eliminated the de minimis doctrine as a defense to copyright infringement, thus shifting collage practice away from non-permissive uses relying on fair use or de minimis protections, and toward licensing. See Bridgeport Music, 6th Cir. Examples of musical collage art that have run afoul of modern copyright are The Grey Album and Negativland\'s U2.
The copyright status of visual works is less troubled, although still ambiguous. For instance, some visual collage artists have argued that the first-sale doctrine protects their work. The first-sale doctrine prevents copyright holders from controlling consumptive uses after the "first sale" of their work. The de minimis doctrine and the fair use exception also provide important defenses against claimed copyright infringement. See the Fair Use Network for further explanations. The Second Circuit in October, 2006, held that artist Jeff Koons was not liable for copyright infringement because his incorporation of a photograph into a collage painting was fair use. Blanch v. Koons, -- F.3d --, 2006 WL 3040666 (2d Cir. Oct. 26, 2006)
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