History of Collage
The medium's development from the 1920s to the 1990s
Bruno Munari, And Thus We Would Set about Seeking an Aeroplane Woman, 1939
Johannes Baader, Homage to Gutenberg, 1919
Erwin Blumenfeld, Men with Head, c. 1920-24
George Grosz, A Victim of Society, later retitled Remember Uncle August, the Unhappy Inventor, oil, pencil, photomontage and collage, 1919
George Grosz, Daum marries her pedantic automaton George in May 1920, John Heartfield is very glad of it (Meta-Mech. Constr. after Prof. R. Hausmann), watercolour, pen and ink, and collage, 1920. Collection: Berlinische Galerie Museum of Modern Art
"The Hat Makes the Man" by Max Ernst. Ernst was an important figure in the dada movement, which often criticized the tastes of mainstream culture and depicted modern man as a conformist automaton. From the page: "This visual pun relates to Freud's identification of the hat—the requisite accessory of the bourgeois man—as a common symbol representing repressed desire, adding new meaning to the cliché inscribed on the work, "C'est le chapeau qui fait l'homme" ("The hat makes the man")."
Max Ernst, The Hat Makes the Man, gouache, pencil, oil, ink and collage, 1920. Collection: MoMA
Max Ernst. The Hat Makes the Man. (1920)
Hannah Höch, Cut with the Dada Kitchen Knife through the Last Weimar Beer-Belly Cultural Epoch in Germany, 1919
Hannah Höch, From the Collection: From an Ethnographical Museum, 1929
Raoul Hausmann. The Art Critic 1919-20. Hausmann, a founder member of the Berlin Dada group, developed photomontage as a tool of satire and political protest. The fragment of a German banknote behind the critic’s neck suggests that he is controlled by capitalist forces. The words in the background are part of a poem poster made by Hausmann to be pasted on the walls of Berlin.
Raoul Hausmann, The Art Critic, 1919-20