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collage
(redirected from collaging)

   Also found in: Dictionary/thesaurus, Wikipedia, Hutchinson 0.07 sec.
collage (kəläzh`, kō–) [Fr.,=pasting], technique in art consisting of cutting and pasting natural or manufactured materials to a painted or unpainted surface—hence, a work of art in this medium. The art of collage was initiated in 1912 when Picasso pasted a section of commercially printed oilcloth to his cubist painting, Still Life with Chair Caning (Mus. of Modern Art, New York City). Collage elements appear in works by Gris, Braque, Malevich, Dove, and the futurist artists. A basic means of Dada and surrealist art, it was used by Arp, Schwitters, and Ernst. Collage is related to the newer art of assemblage, in which the traditional painted canvas has been abandoned in favor of the assembling of bits of material, which are sometimes additionally painted or carved.

Bibliography

See studies by H. Janis and R. Blesh (rev. ed. 1967), H. Wescher (1968, tr. 1971), N. Laliberté (1972), G. F. Brommer (1978), B. French (1978), and John and Joan Digby (1987).


collage

(from French coller, “to glue”) Pictorial technique of applying printed or found materials (e.g., newspaper, fabric, wallpaper) to a flat surface, often in combination with painting. Long popular as a pastime for children and amateurs, it was first given serious attention as an art technique by Pablo Picasso and Georges Braque in 1912–13. Many other 20th-century artists produced collages, including Juan Gris, Henri Matisse, Joseph Cornell, and Max Ernst. In the 1960s collage was employed as a major form of Pop art, exemplified in the work of Robert Rauschenberg.


collage
1. an art form in which compositions are made out of pieces of paper, cloth, photographs, and other miscellaneous objects, juxtaposed and pasted on a dry ground
2. any work, such as a piece of music, created by combining unrelated styles


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Today, Meier's building reveals Post Modernist traits, collaging geometric elements or fragments (the original drawings appropriated human figures from Seurat).
Starting in 1930, various filmmakers in the Soviet Union (at the Scientific Experimental Film Institute) and in Germany (notably Fischinger) began creating sound by painting or collaging geometric shapes directly on sound tracks, something taken further in the United States by John and James Whitney, who used stencils to generate the sound as well as the images for Five Film Exercises (1943-44).
Indeed, My Romance's collaging of poetry, historical data, symbolic analysis of art, and formal evaluation itself embodies a critique of reductiveness and a championing of pluralism with a critical edge.
 
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