Georges Braque The Portuguese 1911
Braque, Georges Fruit Dish and Glass 1912 charcoal and pasted
paper (24 1/2 x 17 1/2 in.)
Georges Braque Nature morte au violon
“ pintura dentro da pintura”
ablo Picasso. (Spanish, 1881-1973). Guitar. (after March 31, 1913).
Pasted paper, charcoal, ink, and chalk on blue paper, mounted on ragboard, 26 1/8 x 19 1/2” (66.4 x 49.6 cm). Nelson A. Rockefeller Bequest.
Georges Braque Nature morte au violon
“ pintura dentro da pintura”
Georges Braque: Violin and Pipe (Le Quotidien)(1913)
Naturaleza muerta sobre la mesa, Georges Braque, 1913 57 x 62 cm
Natureza morta com cadeira de palha 1912
Pablo Picasso (Spanish, 1881-1973), Bottle of Vieux Marc, Glass, Guitar and Newspaper, 1913, collage and pen and ink on blue paper, 46.7 x 62.5 cm, Tate Gallery, London.
Carlo Carrá
Manifestação Intervencionista 1914
Têmpera e colagem em cartão 38,5 x 30cmhttp://www.moma.org/
Francis Picabia (born “Francis Martinez de Picabia”) (French, 18791953), LʼOeil Cacodylate, 1921, oil on canvas, with collaged photographs, postcards and other papers, 148.6 x 117.4 cm, Centre Georges
Pompidou, Paris.
ean (Hans) Arp. (French, born Germany (Alsace). 1886-1966).
Collage with Squares Arranged According to the Laws of Chance.
(1916-17). Torn-and-pasted paper on blue-gray paper, 19 1/8 x 13
5/8” (48.5 x 34.6 cm).
Raoul Hausmann (German, 1886-1971), Tatlin at
Home, 1920, collage of pasted papers and gouache
Raoul Hausmann, Untitled, undated, lithograph and photographic collage on paper,
31.8 x 25.4 cm, Tate Gallery, London.
Revolving [Das Kreisen]. 1919
Wood, metal, cord, cardboard, wool, wire, leather, and
oil on canvas, 48 3/
Kurt Schwitters. (German, 1887-1948). Merz Picture 32 A. The Cherry
Picture. 1921. Cut-and-pasted colored and printed papers, cloth, wood,
metal, cork, oil, pencil and ink on board, 36 1/8 x 27 3/4” (91.8 x 70.5
cm).
Kurt Schwitters, Magic, c. 1936-40, collage on paper, support: 13.1 x
10.6 cm, Tate Gallery, London.
Kurt Schwitters, Opened by Customs, 1937-8, paper collage, oil and
pencil on paper, 33.1 x 25.3 cm, Tate Gallery, London.
Kurt Schwitters. Picture with Basket Ring [Bild mit Korbring]. 1938 Assemblage: wood, rattan ring, paper, iron
and steel nails on wood, 15 x 11 3/4” (38.1 x 29.8 cm)
Kurt Schwitters, The Proposal, 1942, collage on paper, 31.9 x 39.5 cm, Tate Gallery,
London.
Max Ernst. (French, born Germany. 1891-1976). The Hat Makes the Man. (1920).
Gouache and pencil on cut-and-pasted printed paper on board with ink inscriptions, 14 x
18” (35.6 x 45.7 cm).
George Grosz Autômatos republicanos 1920
.
Hannah Hoch A Noiva 1927
Max Ernst & Hans (aka Jean) Arp (French, 1887-1976),
Switzerland, Birth-Place of Dada, 1920, collage on paper.
Hannah Hoch A Noiva 1933
Indian Female Dancer - 1930
Dada Ernst - 1920
Beautiful Girl - 1920
Hannah Höch: Sliced with the Dada Kitchen Knife Through the Last Weimar
Beerbelly Cultural Epoch Germany(1919-20) 114 by 90 cm
Alexandr Rodchenko: Maquette for Mayakovskyʼs ProEto
(1923)
Marcel Duchamp
(American, born France: 1887-1968)
Postcard of Replica of L.H.O.O.Q. (1919)
Collotype, hand colored with watercolor. 7 5/8 x 4
13/16”
François Picabia, 1942 replica of
Marcel Duchamp, L.H.O.O.Q. 1919. from
The Art of Making Art in the Age of Mechanical Reproduction
Cubomania
An application of cubomania
Cubomania is a method of making collages in which a picture or image is
cut into squares and the squares are then reassembled without regard for
the image. The technique was first used by the Romanian surrealist Gherasim Luca.
(This definition of cubomania is to be distinguished from the use of the
word to mean “obsession with cubes.”)
Ihr Kandidat
Décollage von Wolf Vostell.
Wolf Vostell
Bundesrepublik Deutschland, 1961
Holz, Papier, Kunststoff
140 x 200 cm
, is the opposite of collage; instead of an image
being built up of all or parts of existing images,
it is created by cutting, tearing away or otherwise
removing, pieces of an original image. Examples
include inimage or etrécissements and excavations.A similar technique is the lacerated poster, a
poster in which one has been placed over another
or others, and the top poster or posters have been
ripped, revealing to a greater or lesser degree the
poster or posters underneath. Although artist Mark
Kostabi claims that “Mimmo Rotella invented
the technique of using torn posters to make art in
the early 1950s”[1], examples of the genre done
without any surrealist or artistic intent predate this,
as do Raymond Hainsʼ. The lacerated poster was
an artistic intervention that sought to critique the
newly emerged advertising technique of large-scale
colour advertisements. In effect, the decollage destroys the advertisement, but leaves its remnants on
view for the public to contemplate. The lacerated
poster became an artform as early as 1949.
“Pear Blossom Highway”
David Hockney: Portrait of the Artistʼs
Mother
Corey Eiseman: dot com
Laurence Gartel: Millenium Girl
Emblem 30 from The Mirrour of Maiestie (1621)
Shirin M. Kouladjie: g029 from Found
Images
Natsuke Kimura: Morris (1997)
Helmuth Goede: Angel of
Heart and Home
Seán Hillen: From 4 Ideas for a New Town
Bernie Stephanus (www.stephanus.com)
Pat Street: An Effect in Yellow
Cecil Touchon fsl354
Cheryl McClure:Southwest Collage Series, no. 7 (1999)
Georges Braque The Portuguese 1911
Braque, Georges Fruit Dish and Glass 1912 charcoal and pasted
paper (24 1/2 x 17 1/2 in.)