Techniques Collage
Techniques of Collage (From the French: coller, to glue) are 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.
Cubist painter, Pablo Picasso, was the first to use the collage technique for oil paintings. In 1912 for his Still Life with Chair Caning (Nature-morte à la chaise cannée), he 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.
BricolageIn art, bricolage is a technique where works are constructed from various materials available or on hand, and is seen as a characteristic of postmodern works.AppropriationTo appropriate something involves taking possession of it. In the visual arts, the term appropriation often refers to the use of borrowed elements in the creation of new work. The borrowed elements may include images, forms or styles from art history or from popular culture, or materials from non-art contexts. Since the 1980s the term has also referred more specifically to quoting the work of another artist to create a new work. The new work may or may not alter the original.
Some art historians regard Pablo Picasso and Georges Braque as the first to appropriate items from a non-art context into their work. In 1912, Picasso pasted a piece of oil cloth onto the canvas.Techniques Collage, like Guitar, Newspaper, Glass and Bottle became categorized as synthetic cubism. The two artists incorporated aspects of the "real world" into their canvases, opening up discussion of signification and artistic representation. The Surrealists, coming after the Dada movement, also incorporated the use of "found" objects such as Méret Oppenheim's Object (Luncheon in Fur) (1936). These objects took on new meaning when combined with other unlikely and unsettling objects.
DecollageDécollage, in art, is the opposite; 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. The French word "décollage" translates into English literally as
"take-off" or "to become unstuck."
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Like Abstraction Collage was often called the art form of the twentieth century.
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 American artist 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.
