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 rag-board, 26 1/8 x 19 1/2” (66.4 x 49.6 cm). Nelson A. Rockefeller Be-quest.

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, col-lage and pen and ink on blue paper, 46.7 x 62.5 cm, Tate Gallery, London.

Carlo CarráManifestação Intervencionista 1914Têmpera e colagem em cartão 38,5 x 30cmhttp://www.moma.org/

Francis Picabia (born “Francis Martinez de Picabia”) (French, 1879-1953), L̓ Oeil Cacodylate, 1921, oil on canvas, with collaged photo-graphs, 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 Ko-rbring]. 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.

Max Ernst & Hans (aka Jean) Arp (French, 1887-1976), Switzerland, Birth-Place of Dada, 1920, collage on pa-per.

Hannah Hoch A Noiva 1927

Hannah Hoch A Noiva 1933

Beautiful Girl - 1920Dada Ernst - 1920

Indian Female Dancer - 1930

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)

François Picabia, 1942 replica ofMarcel Duchamp, L.H.O.O.Q. 1919. fromThe Art of Making Art in the Age of Mechanical Reproduction

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”

Cubomania

An application of cubomaniaCubomania 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 Ghera-sim Luca.(This definition of cubomania is to be distinguished from the use of the word to mean “obsession with cubes.”)

Ihr KandidatDécollage von Wolf Vostell.Wolf VostellBundesrepublik Deutschland, 1961Holz, Papier, Kunststoff140 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 excava-tions.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 de-stroys 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)

Natsuke Kimura: Morris (1997) Helmuth Goede: Angel of Heart and Home

Shirin M. Kouladjie: g029 from Found Images

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.)