Research Catalog

Title

Collage : pasted, cut, and torn papers / by Florian Rodari.

Author

Rodari, Florian

Publication

Geneva : Skira ; New York : Rizzoli, 1988.

Items in the Library & Off-site

Details

Additional Authors

• Dedalus Foundation, donor. NN
• Robert Motherwell Book Collection (New York Public Library. Art Division)

Uniform Title

Collage. English

Alternative Title

Collage.

Subject

Collage > Technique

Genre/Form

Collages.

Note

• Translation of: Le collage.

Bibliography (note)

• Includes bibliographical references (pages 171-172).

Source (note)

• of the Dedalus Foundation;

Local note

• Copy in ReCAP 25-26340 inscribed.

Contents

The pasted paper revolution -- Precursors? -- A new machine for seeing -- A louder, faster art -- The poetics of the elementary -- By the laws of chance -- A primitive's classical energy -- Broadsides and manifestoes -- Using logic to subvert logic -- Negators, destroyers, dismantlers: game playres -- In search of the fourth dimension -- Midway between dreaming and reality -- Beyond painting -- Sculpting light -- Collage and its dominion -- A counterpoise to lyricism -- Ungluing and tearing or the art of the hoarding -- Bringing art and life together -- Combining, rhythmizing, constructing -- Testing textures -- Accumulating, saturating, denouncing entropy -- Seamarks.

Call Number

ReCAP 25-26340

ISBN

• 0847809617
• 9780847809615

LCCN

88006641

OCLC

17675802

Author

Rodari, Florian.

Title

Collage : pasted, cut, and torn papers / by Florian Rodari.

Imprint

Geneva : Skira ; New York : Rizzoli, 1988.

Description

179 pages : illustrations (some color) ; 34 cm

Type of Content

text

Type of Medium

unmediated

Type of Carrier

volume

Bibliography

Includes bibliographical references (pages 171-172).

Summary

The discovery of the pasted paper technique was a revolution in painting as important for the twentieth century as the discovery of perspective had been in the days of the Renaissance. The astonishment which greeted the sudden appearance of the pasted paper in the field of classical figuration and the speed with which it spread between 1912, the year of its "revelation" to Braque and Picasso, and 1925, when it began to be widely accepted, is eloquent proof that the pasted paper revolution was one of the crucial phases of modernity in art. The practice of borrowing elements from reality -- manufactured items, quotations from printed illustrations, discarded scraps, and even bits of waste -- and including them, just as they are, in works of art, helped significantly to transform prevailing modes of feeling and thinking. Whether it was conceived as a weapon or as an object of fancy, the real material played a tangible role from now on in the viewer's perception of the work. It spoke simultaneously to his mind and to his sense fo touch; it brought art and life closer together. The radical nature of the pasted paper revolution, disrupting the traditional system of pictorial representation, was not at once recognized by art historians. Poets were quicker to discern its significance (first Apollinaire, then Breton, Aragon, Tzara, and Jean Paulhan). But the diversity of uses to which it was put by the avant-gardes of the early twentieth century vouches for the richness, aptness and necessity of this novel technique.

Local Note

Copy in ReCAP 25-26340 inscribed.

Source

Gift; of the Dedalus Foundation; 2025. NN

Added Author

Dedalus Foundation, donor. NN

Robert Motherwell Book Collection (New York Public Library. Art Division)

Other Form:

Online version: Rodari, Florian. Collage. English. Collage. Geneva : Skira ; New York : Rizzoli, 1988 (OCoLC)755192572

Research Call Number

ReCAP 25-26340