Digital collage, photo collage and digiscrapbooking

Digital collage and photo collage

Kurt Schwitters realized its collages with lost property train tickets, button, sheets etc. Kurt Schwitters which would have a computer would make numeric collages with images found on internet, scanned commonplace images, who would be intended to be thrown in the numeric garbage cans. Numerous more and more simple software allows to recycle these images and to realize easily digital collages.

The software of photo collage is applications which allow to realize diverse creations, from its own photos or scanned photos. The beginners and the experts, can so realize collages assembly(editing), It’s is as to make of the scrapbooking with scissors, to create greeting cards, invitations or personalized images.

Added to it there are tools of retouch photo which assures you a quality result. All these creations can be naturally protected to be sent or printed.

With their interface in color, the software of photo collage the images treat with an incredible ease. You choose to open one or several projects at the same time. Of the calendar at your choice of wishes by way of the letter, the poster, confusedly or the only image, about fifty models are pre-recorded. You adapt the weft to your project.


To incorporate its own photos becomes a children's game via a double-click in frames or a simple to slide to put down. It results from it the digiscrapbooking, new which is a digital scrapbooking Which consists in making of the digital scrapbouking and the possibilities seem multiplied tenfold with this technique. A publishing software often includes very useful functions which allow to zoomer, to re-centre(re-suit), to revolve or to add shadows. It is also possible to change the frame around every photo and to add effects of filter (vagueness, flash, grey, etc.).

To insert of the text, the cliparts and the simple geometrical forms can be the final touch to be brought to your work before protecting it in the size(format) embellish with images (BMP, JPEG, JPG, PNG, TIFF) or keep it to the state of project. Always a tab " to Print collage " allows to vary the layouts and the orientation of the page.

In a bank of datum of photos can be placed the favorite photos included then in an artistic compilation. With the software of Collage of photo, you can make big collages, or quickly and easily - with armatures of photo and the special effect of mask. And every work can be repeatedly printed. A range of available tools, including the harvest, the flick, the shade. Effects of mask of Collage of photo can improve still photos very quickly. Furthermore in texts a multitude of polices can be added to the digital paintings. Hundreds of images kinds cliptart quite give can again improve the digital assembly.

Of very good works, even can be leaders of works can be to realize with this software. Andy Warhol did not make of immortal portraits with the mechanical process of the screenprinting. But all the same attention on the uniformity of the processes which make that many assemblies will be alike by the style and the composition imposed by the technique.

The software of photo collage will realize very often also what we call in paint(painting) a crust, remain to find another word for the numerous collages photo so realized.

Assembly

The assembly became a very important aspect of the art when a more and more important number of artists questioned the idea of the work as a quite homogeneous, unified, obeying the hierarchical criteria associated with the traditional materials. It was not still evident that any material can enter by rights the artistic field and be assembled with the other one. The principle of the assembly consists of the configuration of diverse material, phenomenon which knows a progressive extension throughout the century. A step had already been exceeded this way by Kurt Schwitters who indicates in 1919 which used lost property as materials. This conception collided with Clément Greenberg's ideas who wanted a shape of "purity" of paint opposing in it to the principle of Pop Art which was going to appear after the second world war. For Robert Rauschenberg " the error it is to isolate the paint(painting), it is to classify her(it), j used(employed) materials others than the paint(painting), so that we can see things in a new way "

Appropriation, recovery, are decisive notions from the moment are developed the practices of the assembly, where confirmed the tendency assimilating the most heterogeneous materials corresponding to our urban society.

The Surrealism: the urban wastebasket and the oedipian dream. Its contents were updated to include accessories of showers, tires, television set, fragments of rusty engines and signboards of neon (on this point the assembly joins the pop). But usually these elements appear by fragments, where all the group of fragments establishes(constitutes) a fragment of common reality, in the style of the late Cubist; and so we constantly are playing by our current answers with the first quarter of this century. The experimental art on 1966 In 1950 the assembly is very appreciated by the new realists. Among others, Arman realizes garbage cans, where pile up rubbish, garbage through a window, and accumulations where are collected the functional objects of same one family, more or less worn. Through the accumulation, Arman introduces besides the dimension of the quantitative which contributes to divert(hijack) the status of the object envisaged in its peculiarity as well as the functions(offices) which are attributed(awarded) to him(her), advancing(moving), not her reduction, plastic consequences which begin working for and by themselves. The confrontation of several materials and techniques is a line of inescapable strength of the modern art connected in tendency widely investigated by the fact that have him sometimes indicated under the generic name of mixed techniques.

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.

Picasso and art of collage

No need to introduce Picasso the most famous artist of the XXème century. One of most inventive, it admirably knew to adapt to the large currents of its century like the cubism. It invents it artistic joining in 1912 with George Braque.

In homage to Tristant Tzara theorist and poet of the movement Hobby-horse Picasso and Braque call this new technique “stuck papers”. The first work to be raised of joining was the Still life in the caned chair of Picasso.

This table emphasizes a piece of oil-cloth representing itself a cane-bottoming of chair. It exploits after fully the innovative character of this technique

After these first experiments any materials can be integrated in the fabrics of the painters cubists drink, charts to be played, subway ticket. These tables can be connected with the first artistic assemblies. This technique will have thereafter an influence in the cinema although it is not the subject of a theorization.

These first tables cubists are characterized by a research on the geometry and the forms represented: all the objects are found divided and reduced into simple geometrical forms, often of the squares. That means in fact that object is not represented such as it appears obviously, but by codes corresponding é its known reality .

In the Thirties Picasso is interested in the frames (photogramme in French) surely encouraged by Brassaï and Dora Maar. While treating and by recopying photographic plates. It reveint with the technique that frame at the beginning of the Sixties and realizes with André Villier of the assemblies of photographs and frames: it is about cutting of Picasso that Villier copies by combining them with its clean photographs. It is resulted from it 200 operations.

See Picasso Guitar

See collage Women in their toilet

Picasso widens the register of application of the principle of the papers stuck by using the newspaper. October 1912. Picasso creates a first sculpture of assembly, this “Guitar” out of paperboard, cord and wire, which it will take again during the winter 1912-1913 with sheet and wire. These principles will be taken again largely by the artists of the second part of the XXème century. Matisse at the end its life will be carried out also stuck papers.

Picasso is buried in the park of the castle of Vauvenargues in the Bouches du Rhone.

Hannah Höch 1889-1978

After studying painting at Charlottenburg Hannah Höch quickly became a famous artist practicing bonding assembly in 1919 in Berlin in Germany of the Weimar Republic. She uses scissors to select subversive in magazines its raw materials are the pieces that image. She realizes with these montages with fragments of human bodies and mechanical workings. It is remarkable by manipulating the variations of scale and the diversion of expressions. She quickly Dada movement by becoming a friend of Raoul Hausmann (founder of the Dadaist trend Berlin).

It occupies a special place in the Dadaist movement. There are two trends in his collages. The first is oriented policy. In this it is a neighbor to the work of John Heartfield. The second is oriented documentary. In his motion Dada she meets Kurt Schwitters with which it disseminates Dada movement across Europe.

Nicolas Schöeffer assembly

Nicolas Schöeffer he was a researcher curious of all new technologies.
He began to develop into a painting with basic forms. It Submits his work at the Salon d'Automne in 1937 and at the Salon des Independents.
He is also known for his invention of spatiodynamisme, that can be defined as "constructive and dynamic integration of space in the plastic work. ".
Modern technology should be used not sculptors contemporary sculptors Also sculptor of the twentieth century must utilize computer technology, electrical and electronic equipment which are used in industry. The cybernetic, is an essential part of his work, he said "awareness of the vital process that secures balance all phenomena."
By studying aspects of the work of multiple incredibly Nicolas Schöeffer have also retains his job on the assembly in its present sculptures consisting of technical objects that have artistic effects. The use of scaffolding in the company's Mill to design these sculptures are an example.
His work has been taken as an example by Maude Ligier PhD candidate in art history, University of Paris Sorbonne Paris IV at the symposium "back of the art of assembly in March 2008

Erro and the collage

Erro was born in Ólafsvík, Iceland Gu ð mundur Gu ð mundsson in 1932 his artist's first name of Ferro. Very early he meets artists, writers and critics bound to the surrealist movement: Breton but also Matta, Brauner, Masson, Max Ernst, Man Ray, Miro and Duchamp. He realizes mosaics and papers of the poems publish " Mecanismo, mécamanifeste ", " 100 mechanical poems.

The subjects of the plastic works of Err ó are inspired by images of my comic strips and in faces(figures) of despotic politicians. He also brings back the faces of the universe of Wal Disney side by side with Greek gods and madones. We see appearing with these last ones, we see appearing the German dictator Adolf Hitler together with sound of filing down of Saddam Hussein and the Chinese communist leader Mao Tsé-Toung.





Combining paint and collage, in works which join the principles of the narrative representation, Erro proceeds gladly by kaléidoscopique juxtaposition of images borrowed from the media universe, with strong political connotations.

There are sorts of laws which allow series of images to live from the moment when they found it the others to work picturalement. So I look, sometimes for a long time, for one or several documents which are going to give life to these stored images. So that the marriage between documents can finally come true, I have to feel the possibilities of a contrast or a common tension. It also happens that the agreement likes by the strength of their confrontation.
To contemplate the works of Err ó, it is as to assemble a puzzle even if are no collages.

Numerous reviews were dedicated to him. To the museum of modern art of the City of Bets and to the national gallery of the Real tennis. In 2005, the Museum of modern and contemporary art of Palma of Majorca. Mac Val to Vitry on the Seine in Val-de-Marne exposes regularly its collages.

Edward Kienholz

Edward Kienholz was born in 1927 in Fairfield, Washington State,

In 1953 he moved to Los Angeles, he founded the gallery NOW (Now Gallery), one of the first galleries of avant-garde art.

Artist conjure by Sophie Dannenmüller, PhD candidate in art history, University of Paris I then symposion art Assembly in paris March 2008


Edward Kienholz was not the only artist from Los Angeles to use the assembly as a commentary under heavy agreed policies. The side crude and popular inherent in the assembly gave birth to an idiom that works well beyond the field of fine arts.

He is one of the undisputed masters of the art of assemblage, it often creates not just objects, but tables and multi-faceted environments complete falling as much theatre as sculpture.

As a symbol of the art of this period, evokes a great religious and political controversy of the moment, the controversy that continues to divide Americans several decades later. The assembly "illegal operation 1962" also pushing hard and today that at the time, this table represents the aftermath of a bloody abortion - as were a time all abortion in the USA - and recalls the conditions unworthy, unregulated and causes of infection in which many of these acts were carried out. The legal status of most abortions made the USA has evolved through long and numerous legal battles and decisions of justices. Yet the work of Kienholz remains an indictment of practices, or rather misconduct, medical illegal and a political faction whose goals could be to reduce abortion in a state of clandestine activity.








The tables assemblages of Edward Kienholz, consisting of objects, photographs, paintings and they talk about life and death, fear of death, he worked on war, social exclusion or racial, loneliness. In his assemblages, nothing is left to chance: plastic, rags, scrap metal, rubber, wire, plaster, autos, furniture, clothing, medical instruments, tombstones… Kienholz does not, as "Junkart" as Robert Rauschenberg, these various objects for what they contain or antibeauté beauty, it incorporates these elements into a whole that is the environment, "painting" final. Nothing is transfigured, nothing is degraded.

Edward Kienholz died in 1994 at Sandport in Idaho. It was not until 1996 that the Whitney Museum in New York devotes a retrospective exhibition.

Jean Dubuffet

Dubuffet, one of the artists more surprising XXe century, is the inventor par excellence of new plastic languages. It appreciated L art of joining and the assembly. Enemy of the culture and the art of the museums, anarchist, atheist, antimilitarist, antipatriotic, restive with any category (“there is no abstract art or the art is always”), it counts among these creators which modified our vision of art, even the framework of our urban life. Its work encourages to look at differently the ground, the silhouettes of the passers by, the faces where interpenetrate organically the flesh, the plant or the mineral, the hierarchy between the things and the people. Its career of dynamiter consists, of 1942 to 1985, in an extraordinary labour of fruitfulness and regularity, with the research of the release of very forced. This subversive way, far from any standard established, the conduit towards the art of childhood and the madness to which it gives again its letters of nobility (rough art). It inclines it with outrageous forms, the meanders and the expressive signs of the graffiti, with the exploration of materials - bituminizes, sand, vegetable fibres. This mixture assigns a major place to him among the artists matierists, until its great mental series of Hourloupe (1962-1974), prelude to the gestural graphics of the Test cards (1983). Inventive prolific writer of a language, the “absolute jargon”, polemist, sometimes cruel, it leaves irreplaceable testimonys on his vision of art in Prospectus to the amateurs of any kind (1946), Biographie with the step of race (1985); he devotes also many texts to rough art. Are reproduced here: “Anticulturelles Positions” (1951-1963); “Place with the antisocial behaviour” (February 1961); “Radiophonic Maintenance with George Ribemont-Dessaignes” (March 1958) and of the notes for a televised interview (1960). Jean Dubuffet was born in Le Havre in 1901, and it is there that it will pass the major part of his youth. It will make there also its first weapons of painter while entering in 1916 at the School of the Art schools of the city. Two years later it will leave Le Havre for Paris where it will attend in particular the Julian institute. Many open of Dubuffet uses the techniques of joining. They use mixed techniques of oil-base paint thickened with materials as sand, the tar and the straw, giving to its parts an exceptionally texturized surface and a rough consistency. Dubuffet works with a great freedom of the techniques and materials among most absurd. Because for him, it is the material which clearly conditions the effect produced by surface. “Art must be born from material and the tool.” Also it composes of strange landscapes of its invention (Matériologies and Texturologies, 1957-1960), celebrating the ground by strewing its fabrics with tar, of rust, triturating sand, the remains of sponges, sticking wings of butterflies or isorel on matched or ruffled papers, boards or fabrics painted with oil. It paints graffiti incised with force in the thickness of an abstract part, seeking its inspiration in the matter without nobility, being renewed constantly.

Daniel Spoerri

Daniel Spoerri the name of his uncle, spent his childhood in Switzerland where, very young, he befriended Jean Tinguely.
In 1960, while collecting scrap for Tinguely, he had the paste objects collected in bulk on a support that rallied to the vertical, thus setting a time device for a moment due to chance. It was the birth of his paintings traps which mainly immortalize reliefs meals, as is the case for the Hungarian meal and other dinners exposure 723 kitchen utensils. The company culminates with the opening of a restaurant Permanent Spoerri Dusseldorf in 1968. (see art symposium return of the assembly)
With the tables traps, Spoerri develops the idea of détrompe the eye, works in which he combines a classic table illusionist, a chromo, "with objects whose function is to demystify this image, the relegating among the objects of the banality.

it also produced a series of collages mounting classics.
Spoerri reveals the beauty of objects and assemble the parts which could have a common past. Their assembly seems a small operation, but there lies the art. First research, then sort of found objects that have a common history and to finish the assembly of parts of the most successful.

Roman Cieslewicz graphism and collage

Throughout its professional life, Roman Cieslewicz showed an exceptional inventiveness. With an untameable creative energy and without being concerned with borders, it used joining and the photomontage to divert images and to create strange associations. The quasi systematic use of the colors sharp and the pure forms gives to its creations a single and immediately recognizable seal. Beyond its artistic qualities, Roman Cieslewicz remains also unforgettable for its standpoint, its claims, its engagement but also its capacity to be shocked. Biography of the author Born in 1930 in Poland, Roman Cieslewicz passed most of its life to France. Its work, completely singular definitively upset contemporary graphic creation. Funny, provocative, sometimes even uncomfortable or dérangeantes, its image cannot leave us indifferent. Disappeared in 1996, Roman Cieslewicz is without any doubt a emblematic figure of contemporary graphics. IT HUSTLES all the rules. It stirs up the spirits. ll triturates the images with the scissors, the photocopier and the adhesive to recycle them in a strange, provocative and poetic way. It diverts reality, recomposes it to create an inventive, free, coloured and black world at the same time, passing very close to the unreal one sometimes. The French artist of Polish extraction, Romance Cieslewicz (born in 1930 in Lwow, died in 1996 in Paris), that which was defined as a “pointsman of retina” to have the eye and the world with the eye, left us the explosive work among richest, most expressive, most claiming of the school of the Polish poster artists; this school born in the crucible of propaganda after the Second World war. Its style, founded on the circle, the large obliques, exaggerated off-centrings, the use of the letter for its figurative value, is recognized in the moment. The artist unceasingly nourishes associations of images in black and white (800/1 200 € for Topor, a photocollage of 1978, 2.000/3 000 €, joining original for It of 1968 with its bodies of truncated women, in fishnet stocking) but also colors sharp (2 000/4 000 € for the image icon of Che If, original model for the cover Opus n° 3). The world of Cieslewicz touches us by the expression of turbulences of its heart, its humour and its phantasms. Poetic and extremely at the same time. Always full with modernity.

Christian Bonnefoi

Christian Bonnefoi is student. Hefollows Hubert Damisch's lessons at the School of the High Studies. He reads the philosophers, the sociologists, Roland Barthes. As he could not there any more, he stops the reading and the studies. He begins painting and realizing collages. It gives very fast an abstraction in search of its energy, of its dynamism, of its process. It also gives a paint(painting) which owes to the collage, to the assembly, but always in break a lot. Today, the Center Georges Pompidou in Paris proposes a review of his work.

Since its first works in year 1970 c is unmistakably the collage (an evolution of the work Cubist on the space of the picture(board): the picture as the surface which was of use as intellectual organization to the work of Bonnefoi. The conceived and practical collage literally : This invention of the Cubists supposed a definition of the surface as the set(group) or composition of plan differently directed and defined each by a mode of chromatic intensity; c is indeed the other thing(matter) than the geometrical puzzle: an invention of the space which results from a folding of the surface; a reinvention of the surface of the picture(board) resulting from the connection and from the superimposing(overlapping) of autonomous surfaces. The picture is the involvement of tensions enters incompatible relative that are faces(figures) geometrical and the degrees of chromatic intensity; colors define themselves practically optiquement ) by specific modes of expansion (analogically) by durations of typified musical). The elaboration of solution of balance of these two orders practically drew one big part(party) of the aesthetic field of works so diverse and so inaugural as that of Mondrian, Albers, Rothko Extrait of the book of Jean Louis Shefer " Dialogue of the feather and the brush "

Christian Bonnefoi Exposition appearance of the visible from October 22nd, 2008 till January 5th, 2009 Paris Cenre Pompidou

Philibert Charrin art collage

PHILIBERT-CHARRIN (1920 - 2007) Figure uncontested of the art of joining during 50 years, it carries out “painting-joinings” starting from materials, pieces of paper, most various of fabric or partitions, old subway tickets etc… Pierre Brisset in the revie the Eye in December 1985 wrote: ”… Regarded since too a long time as minor art, and even a diversion for (poor) surrealist delayed which is satisfied to replace the head of the Mona Lisa by that of a rhinoceros or to finish in tail of the Venus body of the titien, joining finds with Charrin its true identity. Philippe Charrin is not only a one creator full with imagination and sensitivity, but still a painter authenticates who, even without lesecours brush manages, as Jean-François chabrun wrote it at one time, “to translate” the values of the true painting”