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    Collage mit 2 Kreuzen - László Moholy-Nagy

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    Collage mit 2 Kreuzen - László Moholy-Nagy

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http://www.artnet.fr/artistes/l%C3%A1szl%C3%B3-moholy-nagy/collage-mit-2-kreuzen-a-bQzB3SaYNVQS3qHOLlmxKQ2

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László Moholy-Nagy

Collage mit 2 Kreuzen, 1922

31 x 22,5 cm. (12.2 x 8.9 in.)

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Artiste :

(hongrois, 1895 - 1946)

Titre :

1922

Support :

Mixed media

Taille :

31 x 22,5 cm. (12.2 x 8.9 in.)

Prix :

Contacter la galerie à propos de cette œuvre

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László Moholy-Nagy Collage mit 2 Kreuzen, 1922 31 x 22,5 cm. (12.2 x 8.9 in.) close Artiste : (hongrois, 1895 - 1946) Titre : 1922 Support : Mixed media Taille : 31 x 22,5 cm. (12.2 x 8.9 in.) Prix : Contacter la galerie à propos de cette œuvre

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Nam June Paik - Evolution Revolution Resolution

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Nam June Paik - Evolution Revolution Resolution

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https://www.artsy.net/artwork/nam-june-paik-evolution-revolution-resolution

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Nam June Paik | Evolution Revolution Resolution (1989) | Artsy

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From Watanuki Ltd. / Toki-no-Wasuremono, Nam June Paik, Evolution Revolution Resolution (1989), Set of 8 Lithographs, 80 × 60 × 3.6 cm

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https://www.nationalgalleries.org/art-and-artists/24027

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About this artwork

Collage was of crucial importance throughout Paolozzi's work - many of his sculptures and prints were made in a collage fashion, built up from different imprints or layers of objects and images. This collage is composed of fragments of screenprints, as well as tickets and scraps of magazines and drawings. Collage is a supremely twentieth-century medium, mirroring the way we flick through articles and advertisements in magazines, or the way we switch between television channels. The art-historic pedigree of collages composed from everyday materials goes back to the German Dada artist Kurt Schwitters who made a similar use of collage from the late 1910s on.

Does this text contain inaccurate information or language that you feel we should improve or change? Tell us what you think.

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Collage was of crucial importance throughout Paolozzi's work - many of his sculptures and prints were made in a collage fashion, built up from different imprints or layers of objects and images. This collage is composed of fragments of screenprints, as well as tickets and scraps of magazines and drawings.

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https://www.moma.org/collection/works/183511

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In Tableau Rastadada, the artist depicted himself as a playboy (kicked by women's pumps), a failure (as suggested by the words "le raté"), and even a social climber (the "rasta" in Rastadada stands for rastaquouère, a rich, foreign upstart). These elements together created a self-deprecating, punning self-portrait.

Gallery label from 2019

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Francis Picabia. Tableau Rastadada. 1920 | MoMA

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Francis Picabia. Tableau Rastadada. 1920. Cut-and-pasted printed paper on paper with ink. 7 1/2 x 6 3/4" (19 x 17.1 cm). Gift of Abby Aldrich Rockefeller (by exchange). 625.2014. © 2017 Artists Rights Society (ARS), New York / ADAGP, Paris. Drawings and Prints

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Nature morte à la chaise cannée, Pablo Picasso

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Nature morte à la chaise cannée, Pablo Picasso

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https://artpla.co/sixieme/le-premier-collage-1912/

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Nature morte à la chaise cannée, Pablo Picasso, huile et toile cirée sur toile encadrée, 37×29 cm, 1912, Musée Picasso, Paris

Le premier collage est attribué à Picasso qui joint dans la composition de Nature morte à la chaise cannée un véritable morceau de toile cirée imitant le cannage d'une chaise. En septembre de la même année, Georges Braque colle dans son tableau intitulé Compotier et verre des bandes de papiers peints reliées par des traits graphiques.

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Le premier collage - 1912 - Blog-notes | arts plastiques

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Nature morte à la chaise cannée, Pablo Picasso, huile et toile cirée sur toile encadrée, 37×29 cm, 1912, Musée Picasso, Paris Le premier collage est attribué à Picasso qui joint dans la composition de Nature morte à la chaise cannée un véritable morceau de toile cirée imitant le cannage d'une chaise.

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https://www.centrepompidou.fr/fr/ressources/oeuvre/cbrxeX

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https://www.cineclubdecaen.com/peinture/peintres/rauschenberg/monogram.htm

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Monogram
Robert Rauschenberg, 1955-1959
Freestanding combine Huile, papier imprimé, reproductions imprimées, métal, bois, talon en caoutchouc et balle de tennis sur toile, avec huile sur chèvre angora et pneu sur socle en bois monté sur quatre roulettes, 106,6 x 160,6 x 163,8 cm
Stockholm, Moderna Museet

Monogram est un des plus célèbres Combines sur lequel Rauschenberg reviendra à plusieurs reprises avant d'arriver à la version définitive. Association incongrue, sur une sorte de tableau abstrait posé horizontalement, d'une chèvre angora au museau peint, ceinte d'un pneu d'automobile, et de différents collages allant d'une balle de tennis à différents papiers imprimés. Cette œuvre n'a rien des assemblages insolites des surréalistes, illustrant la célèbre phrase de Lautréamont : " Beau comme la rencontre fortuite d'un parapluie et d'une machine à coudre sur une table de dissection ", et faisant appel à des associations inconscientes.

La combinatoire d'objets, d'images et de tracés de peinture ne vise pas, malgré le curieux entrelacs visuel de la chèvre et du pneu, l'unité perceptive, mais le morcellement. La chèvre restant, malgré le pneu qu'elle porte au cou comme un collier loufoque, irréductiblement chèvre et le pneu un pneu. La signification de l'ensemble en est atteinte.

Si le pneu renvoie à l'enfance de l'artiste habitant près d'une usine à pneus, l'association avec la chèvre empaillée pose question. Le titre Monogram rend ce montage encore plus énigmatique. Monogram, ou entrelacement de plusieurs lettres en un seul caractère, composé ici de l'enchevêtrement du bouc et du pneu. La lettre O du pneu passerait ainsi autour de l'animal pour faire un nœud rebelle au sens et à toute idée de beauté. Ready made (pneu) et animal empaillé coexistent en cette œuvre qui laisse, selon les souhaits de l'artiste, autant de place pour le regardeur que pour l'artiste.

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Monogram Robert Rauschenberg, 1955-1959 Freestanding combine Huile, papier imprimé, reproductions imprimées, métal, bois, talon en caoutchouc et balle de tennis sur toile, avec huile sur chèvre angora et pneu sur socle en bois monté sur quatre roulettes, 106,6 x 160,6 x 163,8 cm Stockholm, Moderna Museet Monogram est un des plus célèbres Combines sur lequel Rauschenberg reviendra à plusieurs reprises avant d'arriver à la version définitive.

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Max ERNST, Le Rossignol chinois, Photomontage, 1920, 12,2 X 8,8, Grenoble, Musée de Grenoble

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https://artsandculture.google.com/asset/boardwalk-man-ray/yAFOck4T1-UYtg

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Boardwalk - Man Ray - Google Arts & Culture

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The American artist Man Ray (1890-1976) was the one who changed the status of photography from a simple record of reality to - also - an art form. His production started in New York with paintings; however, a meeting with the ideas of Dadaism, personally presented by the Frenchman Marcel Duchamp, in 1915, was enough for his concepts of art to expand.

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Perhaps the most influential artist of the 20th century, Pablo Picasso may be best known for pioneering Cubism and fracturing the two-dimensional picture plane in order to convey three-dimensional space. Inspired by African and Iberian art, he also contributed to the rise of Surrealism and Expressionism.

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https://www.tate.org.uk/art/artworks/schwitters-relief-in-relief-t01259

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Kurt Schwitters 1887-1948

Inscribed '39 Westmoreland Road' on the back, along part of the support
Oil on wood and plaster construction in painted white frame, dimensions without frame, 16 1/4 x 12 3/4 x 4 (41.3 x 32.5 x 10.2), including frame 19 1/2 x 16 1/4 x 4 (49.2 x 41.3 x 10.2)
Purchased from Mrs Edith Thomas (Grant-in-Aid) 1970
Prov: The artist's estate; Mrs Edith Thomas, London
Exh: Kurt Schwitters 1887-1948, Lord's Gallery, London, October-November 1958 (48, repr.), as 'Many Angles' c.1942-5; Kurt Schwitters 1887-1948, Arts Council touring exhibition, November 1959-May 1960 (71), untitled; Schwitters, Marlborough Fine Art, London, March-April 1963 (238), as 'Relief in relief'; Kurt Schwitters in the Lake District, Abbot Hall Art Gallery, Kendal, October-November 1964 (2), incorrectly stated to be inscribed 'K.S. 1943'; on loan to the Tate Gallery from 1966 until acquired

Edith Thomas ('Wantee') says that this construction must have been made while Schwitters was living at Barnes in London, probably in 1943 or if not in 1944, though she does not have any clear recollection of it being made. Although Schwitters was happy to let people watch him while he was his , he would not let them see his or constructions until they were finished, when he would bring out a group of new works for a kind of 'private view'. Some of the types of material he had been accustomed to using were unobtainable during the war - for instance, there were very few glossy magazines - but while he was living at Barnes by the river he loved to walk along the tideline and collect driftwood. He had a favourite spot for collecting driftwood which they used to visit together every day. Although his collages were usually made straight off, the constructions often took months and he had several in progress at the same time while he was waiting for a suitable piece; he usually had a specific type of piece in mind to complete his work.

She thinks that in this case Schwitters may have started with the small rectangle at the top right and then enlarged the work. It is rather unusual in containing a made-up sculptural shape (probably modelled in plaster of paris over wood) as well as found material. The white frame is certainly original. Schwitters was very poor at this period and could only afford very old frames.

Ernst Schwitters adds (letter of 10 May 1973) that the title 'Many Angles' under which this work was first exhibited in 1958 was invented by Philip Granville of the Lord's Gallery. 'It is, unfortunately, very atypical for my father's titling, and in my Oeuvre-catalogue it figures as ( in Relief), somewhat better, at least, but not perfect either.' It is No.998 in the oeuvre-catalogue and is assigned the date 1942-5, the period they were living at Barnes.

Published in:
Ronald Alley, Catalogue of the Tate Gallery's Collection of Modern Art other than Works by British Artists, Tate Gallery and Sotheby Parke-Bernet, London 1981, p.677, reproduced p.677

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'(Relief in Relief)', Kurt Schwitters, c.1942-5 | Tate

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Artwork page for '(Relief in Relief)', Kurt Schwitters, c.1942-5 Schwitters was associated with the irreverent dada movement in 1920s Germany.

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En 1960, Pierre Restany et Yves Klein créent le groupe des Nouveaux Réalistes. De nombreux artistes parmi lesquels Spoerri, mais aussi Arman, Martial Raysse et Jean Tinguely, en signent le manifeste qui préconise de tirer du réel le matériau concret de leur art. Les papiers collés de Braque et Picasso (dès 1912) introduisaient déjà dans [...]

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Paris. Galerie André-François Petit. "Max Ernst-Yves Tanguy: Oeuvres anciennes," December 1961, no. 9.

Cambridge, Mass. Fogg Art Museum, Harvard University. "Surrealism," April 30-May 31, 1963, no. 39.

Art Galleries, University of California, Santa Barbara. "Surrealism: A State of Mind, 1924-1965," February 26-March 27, 1966, no. 31.

Museum of Modern Art, New York. "Dada, Surrealism, and Their Heritage," March 27-June 9, 1968, no. 309.

Los Angeles County Museum of Art. "Dada, Surrealism, and Their Heritage," July 16-September 8, 1968, no. 309.

Art Institute of Chicago. "Dada, Surrealism, and Their Heritage," October 19-December 8, 1968, no. 309.

Kunsthalle Düsseldorf. "Surrealität-Bildrealität, 1924-1974: In den unzähligen Bildern des Lebens," December 8, 1974-February 2, 1975, no. 329.

Staatliche Kunsthalle Baden-Baden. "Surrealität-Bildrealität, 1924-1974: In den unzähligen Bildern des Lebens," February 14-April 13, 1975, no. 329.

Paris. Centre Georges Pompidou, Musée national d'art moderne. "Yves Tanguy: Rétrospective 1925-1955," June 17-September 27, 1982, no. 11.

Staatliche Kunsthalle Baden-Baden. "Yves Tanguy: Retrospektive 1925-1955," October 17, 1982-January 2, 1983, no. 11.

New York. Solomon R. Guggenheim Museum. "Yves Tanguy: A Retrospective," January 21-February 27, 1983, brochure no. 11.

Staatsgalerie Stuttgart. "Yves Tanguy und der Surrealismus," December 9, 2000-April 29, 2001, no. 6.

Houston. Menil Collection. "Yves Tanguy and Surrealis," May 31-September 16, 2001, no. 6.

New York. The Metropolitan Museum of Art. "The Pierre and Maria-Gaetana Matisse Collection," May 18, 2004-June 26, 2005, no catalogue.

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Yves Tanguy | Title Unknown | The Metropolitan Museum of Art

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Paris. Galerie André-François Petit. "Max Ernst-Yves Tanguy: Oeuvres anciennes," December 1961, no. 9. Cambridge, Mass. Fogg Art Museum, Harvard University. "Surrealism," April 30-May 31, 1963, no. 39. Art Galleries, University of California, Santa Barbara. "Surrealism: A State of Mind, 1924-1965," February 26-March 27, 1966, no. 31. Museum of Modern Art, New York.

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https://fr.wahooart.com/@@/8XZ6JT-Vladimir-Tatlin-Letatlin

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Reproductions or prints are not available for this artwork
We use here Copyright term based on authors' deaths according to Copyright Law , (70 years).
Artworks protected by copyright are supposed to be used only for contemplation. Images of that type of artworks are prohibited for copying, printing, or any kind of reproducing and communicating to public since these activities may be considered copyright infringement . ...

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Reproductions or prints are not available for this artwork We use here Copyright term based on authors' deaths according to Copyright Law , (70 years). Artworks protected by copyright are supposed to be used only for contemplation.

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« Rien » Série Boulevard des Italiens 1971 Gérard Fromanger

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https://artuk.org/discover/artworks/boite-dallumettes-138981

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Medium

oil on canvas, paper collage

Measurements

H 162.2 x W 129.8 cm

Accession number

GLAHA_45132

Acquisition method

gift from the Contemporary Art Society, 1980

82 Hillhead Street, University of Glasgow, Glasgow G12 8QQ Scotland

View venue

Boîte d'allumettes Hunterian Art Gallery, University of Glasgow

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Art UK has updated its cookies policy. By using this website you are agreeing to the use of cookies. To find out more read our updated Use of Cookies policy and our updated Privacy policy.

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Jean Tinguely -  Wundermaschine, Méta-Kandinsky I 

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Jean Tinguely -  Wundermaschine, Méta-Kandinsky I 

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https://www.myswitzerland.com/fr-be/decouvrir/villes-culture/art-culture/art/wundermaschine-metakandinsky-i/

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Dans cette œuvre, des cercles colorés et d'autres formes irrégulières sont en mouvement. Certains éléments sont fixés, d'autres sont mis en rotation grâce à un moteur, des roues et des courroies de transmission. Étant donné qu'elles sont disposées sur différents niveaux, les formes disparaissent parfois derrière d'autres pour réapparaitre ensuite. En fonction de la transmission, certaines pièces de tôle peintes tournent plus rapidement que les autres. Avec la Wundermaschine, le mécanisme en lui-même est apparent et, en raison des roues directrices peintes en couleurs vives, il devient un composant de la composition. Le haut-relief de Tinguely offre ainsi un spectacle fascinant de configurations de couleurs et de formes changeant en continu.

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Wundermaschine, Méta-Kandinsky I | Suisse Tourisme

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Dans cette œuvre, des cercles colorés et d'autres formes irrégulières sont en mouvement. Certains éléments sont fixés, d'autres sont mis en rotation grâce à un moteur, des roues et des courroies de transmission. Étant donné qu'elles sont disposées sur différents niveaux, les formes disparaissent parfois derrière d'autres pour réapparaitre ensuite.

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https://www.moma.org/collection/works/64874

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https://www.parismuseescollections.paris.fr/fr/musee-d-art-moderne/oeuvres/chien-ndeg16#infos-principales

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Pour sauvegarder et annoter vos recherches, recevoir des alertes et des suggestions

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Boulevard Saint-Martin - Jacques Villeglé

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Boulevard Saint-Martin - Jacques Villeglé

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http://www.artnet.fr/artistes/jacques-villegl%C3%A9/boulevard-saint-martin-DTwCbVzs2plQXqLGUSwl8A2

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George Grosz. Demoniac landscape 1958. Collage sur carton

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https://dantebea.com/2014/03/04/george-grosz-2/

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You Are Leaving the American Sector  - Wolf Vostell

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You Are Leaving the American Sector  - Wolf Vostell

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https://postwar.hausderkunst.de/en/artworks-artists/artworks/you-are-leaving-the-american-sector

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Wolf Vostell is known as a co-founder of the Fluxus movement of the 1960s and '70s, as well as for his pioneering works in installation, Happenings and environmental art. His education included studies at the École nationale supérieure des Beaux-Arts (National School of Fine Arts) in Paris (from 1955 to 1956) and the Kunstakademie Düsseldorf ((Dusseldorf Art Academy; in 1957). Starting in 1958, Vostell initiated Happenings across Europe and New York. That same year, he creating the first installation to incorporate a TV set (German View from the Black Room Cycle, 1958-63). Appropriating the term "Dé-coll/age" from the French language in 1954, Vostell re-introduced the Dadaist legacy of deconstructing consumerist items (like street posters) as a means of encouraging independent thinking. Vostell's artistic achievements earned him early international recognition. He helped organize the Festum Fluxorum in Wiesbaden of 1962, among other events with the Fluxus group. Vostell was granted major retrospectives at the Musée d'Art Moderne de la Ville de Paris (Modern Art Museum of the City of Paris) and the Neue Nationalgalerie (New National Gallery), Berlin, in 1974, and participated in Documenta, Kassel in 1977. In the 1980s, Vostell expanded his practice into environmental art, creating immersive installations for the FLUXUS-Train traveling across Germany. He founded the Museo Vostell, dedicated to his work, in 1976 in Malpartida de Cáceres, Spain.

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Wolf Vostell is known as a co-founder of the Fluxus movement of the 1960s and '70s, as well as for his pioneering works in installation, Happenings and environmental art. His education included studies at the École nationale supérieure des Beaux-Arts (National School of Fine Arts) in Paris (from 1955 to 1956) and the Kunstakademie Düsseldorf ((Dusseldorf Art Academy; in 1957).

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http://www.artnet.fr/artistes/karl-waldmann/sans-titre-4snCJrbIp9tKyJiccdem6Q2

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Artiste :

Titre :

Support :

photomontage

Taille :

30 x 22 cm. (11.8 x 8.7 in.)

Description :

*

Vente :

*

Estimation :

*

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close Artiste : Titre : Support : photomontage Taille : 30 x 22 cm. (11.8 x 8.7 in.) Description : * Vente : * Estimation : * Prix : * * Abonnez-vous dès maintenant pour voir les détails de cette œuvre et accéder à plus de 10 millions de résultats d'enchères.

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https://zone47.com/crotos/?q=1138151

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Crotos - Papier peint de vache - Andy Warhol - Résultat

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https://www.macba.cat/en/art-artists/artists/hains-raymond/sense-titol-0

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https://www.moma.org/learn/moma_learning/tom-wesselmann-still-life-30-april-1963/

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1963. Oil, enamel and synthetic polymer paint on composition board with collage of printed advertisements, plastic flowers, refrigerator door, plastic replicas of 7-up bottles, glazed and framed color reproduction, and stamped metal, 48 1/2 x 66 x 4" (122 x 167.5 x 10 cm)

Still Life #30 is a large still-life composed of a table laden with images of fresh and packaged food, balanced by a pink refrigerator door, replica 7-Up bottles, and a window with a view to the city. Wesselmann remarked, "This kind of relationship helps establish a momentum throughout the picture... At first glance my pictures seem well behaved, as if-that is a still life, O.K. But these things have such crazy give-and-take that I feel they get really very wild." ¹

This work is one in a series of still-lifes featuring images cut out from magazines, then collaged directly onto the surface of his paintings. He composed with an eye towards the combination of objects, colors and textures. A painter, sculptor, and printmaker, Wesselmann never embraced the label of Pop artist. He said that he chose to depict everyday objects for their aesthetic qualities, not to make any cultural critiques.

Interview with G. Swenson, ARTnews, 1964, p. 44

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MoMA | Tom Wesselmann. Still Life #30. April 1963.

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1963. Oil, enamel and synthetic polymer paint on composition board with collage of printed advertisements, plastic flowers, refrigerator door, plastic replicas of 7-up bottles, glazed and framed color reproduction, and stamped metal, 48 1/2 x 66 x 4" (122 x 167.5 x 10 cm) Still Life #30 is a large still-life composed of a table laden with images of fresh and packaged food, balanced by a pink refrigerator door, replica 7-Up bottles, and a window with a view to the city.

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https://artsplastiquescollege.wordpress.com/2015/01/21/richard-hamilton-just-what-is-it-that-makestodays-home-so-different-so-appealing-1956/

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http://kartavoir.blogspot.com/2018/08/n211-le-critique-dart-1919-raoul.html

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self-portrait with Police Commissioner Zörgiebel, John Heartfield

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self-portrait with Police Commissioner Zörgiebel, John Heartfield

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https://www.retroavangarda.com/john-heartfield-and-the-dawn-of-photomontage/

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Hannah Höch, Untitled, 1930, from the series ‘From an Ethnographic Museum’, collage,

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https://www.frieze.com/article/hannah-h%C3%B6ch-0

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Pearlblossom Hwy, David Hockney, 1986 april

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https://www.hockney.com/index.php/works/photos/photographic-collages

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http://www.artnet.fr/artistes/marcel-janco/collage-4Efw_88rHVwgnUbg0OTcZw2

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Jasper Johns, Target, 1961 Encaustique et collage sur toile, 167.6×167.6 cm

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https://culturieuse.blog/2018/01/29/jasper-johns-1930-%C2%A7-pensees/

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24 x 16 cm, Bref Rencontre, Peter Klasen

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http://www.artnet.fr/artistes/peter-klasen/bref-rencontre-a-ug9tuAqFfu-FhK5lgbHaaw2

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Paul Klee, «Fleur tropicale», 1920, 203, huile et crayon sur papier préparé sur carton

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https://www.letemps.ch/culture/paul-klee-peintre-face-aux-surrealistes

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https://artsandculture.google.com/asset/chaotic-collage/twGs7NfNQ74jXg

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https://www.tate.org.uk/art/artworks/laurens-head-of-a-boxer-t06833

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https://arthive.com/fr/renemagritte/works/333499

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http://www.artnet.com/artists/kazimir-malevich/collage-Oex2EgXGI9a-J48CX-xlkA2

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LES MOTS EN LIBERTÉ, Filippo Tommaso Marinetti

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LES MOTS EN LIBERTÉ, Filippo Tommaso Marinetti

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https://www.metmuseum.org/art/collection/search/345679

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https://www.wikiart.org/fr/andre-masson/the-painter-and-the-time

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https://www.wikiart.org/fr/henri-matisse/the-circus-1943

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https://culturieuse.blog/2014/08/09/annette-messager-1943-%C2%A7-messages-subliminaux/

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https://www.moma.org/collection/works/38560