Of the usage of the collage in the Pop art

The standpoint on Pop art shows that theoretical work on the modern everyday life had preceded pop art. It was attached to the concept of popular of transitory, quickly forgotten, good market and bulk product of spiritual and sexy. This artistic concept was seen soon recovered by “établishment the” artistic one. The pop one was born in England at the beginning of the years 1950 pennies the influence from intellectuals and artists who became aware of the influence of the mass media and technology. This group thought of the change under influence of the Americanism of this period according to war. The groups raised the question of the widening of the means of representation about the new theories posed by the time with people like Richard Hamilton specialist in industrial design and Eduardo Poalozzi expert of the textile design
The artists of pop reacted to the modification of the visual perception caused by the media. The technical complex, mass media and mass culture constituted to some extent the program exposing the individual within the company, defining a concept artistic again.
The topics of meeting of this English artistic movement will also relate to the artistic techniques whose joining seems to be a major element. Poalozzi realized in 1947 a series of joinings starting from comic strips, of cuts of store, advertising images. The artists expressing itself with joining will be an important component of the movement. Joining as painting was also renewed with pop art. . Pop American develops this movement. Pop vigorously taken again American art the movement born in the United Kingdom. From kooning representing expressionnism S abstracts was launched in tests of joining and included/understood perfectly the intentions of the young artists Pop New-Yorkais. Robert Rauchenberg in 1953 after the gesture celebrates obliteration of a drawing of Kooning launches out in an assembly run joining. It works on the print and is also inspired by the step John Cage. Its assemblies will make the effect of a detonator on the evolution of Pop art. It knew to continue the Dada movements of Kurt Schwitters and Marcel Duchamp. Joinings of Rauchenberg want to be a confrontation of graphic elements. It shocked by a composition based on the chance (influence of John Cage) which made burst the former pictorial order. The symbols are drawn from realities distant from/to each other and combined with waste, bone, feathers. The things thus put in report/ratio are dematerialized. This style of joining is also present at at George Brecht, Marisol, Tom Wesselmann in a different style. Resurgence of the pictorialism through the Pop one The pop one makes transparent the usual one by the means of the images, makes conscious and freezes the elements of a manipulative creation. The artist reverses and denatures the relationship between the things and their form in the advertising world. The basic technique employed is photography but the artists denature it. The series of serigraphies of portrait is connected with the pictorialism which in my opinion passes by again with the posterity with the Pop one thanks to Andy Warhol and Martial Raysse. New realistic the Pop ones and collage. Gathered in France around Pierre Restany the French artists open a new way of Pop by creating the movement of new realistic. It will be characterized by a rupture between the generations. Arman one of eminent representing of this just movement of the bottles objects, masks, limp of Coke Cola. Rotella, Hains carry out takeoffs of posters. The new realistic ones with its many artists assemblers not to say collagist is a parallel demonstration of Pop Art insofar as it integrates to him also the concept of culture popular waste, technology, the mass media publicity and the original way to design the artistic object. Conclusion Pop collage With the Pop one one also attends an adaptation of the art of collage to the new media company and consumption. The pop one is an art “factualist”. The artists work with techniques of manufacture (painting collage screen prints…) who can be also mechanical. These processes apply or use things, objects which become tables and works of art, is not this step there the object of the artistic collage which abolishes the distance between art and the life. But the Pop one is especially an ironic attitude with regard of the company and a very marked direction of the reality of the facts. It put an end to the institutional reign abstract expressionnism putting a term can be temporarily with all chattering on the introspection and the interiority of art and the end also of a negative general attitude towards collage.