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Photomontage Collage

Photomontage - History and Concepts

Started: 1857
Photomontage Timeline
The cutting and assemblage of the parts is applied here on a static plane. The effect is that of a real scene, a synopsis of actions, produced by originally unrelated space and time elements juxtaposed and fused into a reality.
László Moholy-Nagy Signature
We called [the] process "photomontage," because it embodied our refusal to play the part of the artist. We regarded ourselves as engineers, and our work as construction: we assembled our work, like a fitter.
Raoul Hausmann
...our whole purpose was to integrate objects from the world of machines and industry in the world of art.
Hannah Höch Signature
The moment you make a collage of photographs it becomes something like a drawing... Because there is no single way to join them. If you make a decision about something like that, isn't that exactly what you are doing when you are drawing? It seems to me it is. So collage itself is a form of drawing. I always thought it was a great, profound invention of the 20th century. It's putting one layer of time on another, isn't it?
David Hockney Signature
In the case of anti-war photomontages, I have consciously chosen, in effect, to quote my own method of work from forty years previously in order to create a meta-level commentary about the failure of our political class to learn anything from history. Today, we have new wars of choice that are being waged with the old mindset, so I chose to use the same mode of address: the photomontage.
Martha Rosler
I've always made a distinction between collage and photomontage. Montage is about producing something seamless and legible, whereas collage is about interrupting the seam and making something illegible.
John Stezaker
[Photomontage] is my way of connecting with the world and I like the idea that I can invent a reality that, for me, is personally more meaningful than the one that's literally given to the eye.
Jerry Uelsmann

Beginnings

Oscar Gustave Rejlander, <i>Two Ways of Life</i> (1857). The “combination print” depicts the contrast between the virtuous and debauched lifestyles of a rich man's two sons and is thought to be the first example of photo montage in the Victorian era.

Photomontage first emerged in the mid-1850s as experimental photographers aspired to create images that could rank alongside fine art. The idea of the composite image was thought to have been first proposed by the French photographer Hippolyte Bayard who wanted to produce a balanced image in which the subject was superimposed on a background that brought the two together in an idealized setting. Since a photograph was regarded as the record of truth, however, his approach attracted controversy amongst the photographic community who did not warm to the blatant misrepresentation of reality.

The first commercial photomontages were produced during the mid-Victorian era when the practice was given the name "combination printing" by Oscar Gustave Rejlander, a self-appointed artist in this new field. Rejlander started working in portraiture, but he also created notorious "erotic" artworks featuring circus models and child prostitutes. His famous Two Ways of Life (1857) combined over thirty images in a single photograph to create a moralistic allegory contrasting a life of sin with one of virtue. Showing two boys being offered guidance by the patriarch, the print initially caused controversy for its partial nudity. That objection notwithstanding, the print was a success and helped secure Rejlander's admission into the Royal Photographic Society of London.

Henry Peach Robinson's <i>Fading Away</i> (1858) was driven by the photographer's desire to follow in the footsteps of the pre-Raphaelite artists.

Like Rejlander, Henry Peach Robinson started out in portraiture, and, like Rejlander, he was considered one of the most influential photographers of late nineteenth century. His most famous composite print, Fading Away, depicted a young woman's final moments with her loved ones in attendance. The image belongs to what Robinson called his "Pre-Raphaelite phase" in which he sought to manufacture timeless moments in a gothic setting.

Though Rejlander and Robinson aspired to the status of fine artists, many less distinguished photomontages came to fruition during the same period. These tended to take the form of novelty postcards featuring the wrong head stuck on the wrong human body, or even a human head placed on the body of a creature. By the beginning of World War I, more sober images in Robinson's sentimental/illusionist style gained in commercial popularity as photographers across Europe produced postcards showing soldiers departing for battle with their loved ones waving them off. These postcards, very often hand-tinted, would have an impact on the development of photomontage within the Berlin Dada movement which steered a path away from this false narrative tradition towards something much more self-reflexive.

Concepts and Styles

Dada

Johannes Theodor Baargeld's disingenuous photomontage, entitled <i>Typical Vertical Mess as Depiction of the Dada Baargeld</i> (1920), demonstrates the Dadaist's investment in the idea of an “anti-art” aesthetic.

Dada artists are usually credited with pioneering the use of "non-narrative" photomontage. (Not without a little conceit) George Grosz reflected that "When John Heartfield and I invented photomontage in my South End studio at five o'clock on a May morning in 1916, neither of us had any inkling of its great possibilities, nor of the thorny yet successful road it was to take". Hannah Höch, meanwhile, explained how she and her partner Raoul Hausmann came to adopt the idea, not from Heartfield or Grosz, but "from a trick of the official photographers of the Prussian army regiments [who] used to have elaborate oleo-lithographed mounts, representing a group of uniformed men with a barracks or a landscape in the background then inserted photographic portraits of the faces of their customers, generally coloring them later by hand". Though these commercial efforts were intended to create a seamless illusion, Höch used the technique rather to draw attention to the absurdities and inequalities of modern German society.

Photomontage would become a dominant technique within the Berlin Dada movement, redefining the very role of the modern artist (as the Dadaists saw it at least). As Raoul Hausmann said, "We called [the] process 'photomontage,' because it embodied our refusal to play the part of the artist. We regarded ourselves as engineers, and our work as construction: we assembled our work, like a fitter". The art critic Brian Dillon added that the technique established "the aesthetic of liberation, revolution, protest [...] And in the hands of these artists it became intensely ideological, a defence in times of tyranny and a weapon against injustice".

Constructivism

Rodchenko's iconic promotional poster for <i>Books (The Advertisement Poster for the Lengiz Publishing House)</i> (1924).

The idea of photographic formalism was the central tenet of Constructivism, and as art historian Craig Buckley remarked, while the "beginnings of avant-garde photomontage are commonly traced back to the context of Berlin Dada after World War I [...] the technique was adopted almost simultaneously by constructivist artists and filmmakers in the Soviet Union".

El Lissitzky, Alexander Rodchenko, Gustav Klutis, Valentina Kulagina, and Varvara Stepanova (who defined photomontage in 1928 as "the assemblage of the expressive elements from individual photographs") created photomontages that synthesized images with graphic design to support the Russian Revolution and the new Soviet Government. Constructivist works were inherently propagandist, as exemplified in Rodchenko's posters which, with their bold colors and dynamic geometric design, transformed the art of graphic design into something revolutionary. El Lissitzky's photomontages, which combined his photographs in multi-layered compositions, exemplified a more aesthetic Constructivist approach, while also influencing the New Vision movement, Bauhaus photography, and prominent artists such as László Moholy-Nagy.

Surrealism

Photomontage was valued amongst Surrealists for its ability to create uncanny scenarios that disturbed and provoked by probing the human subconscious. Former Dada artists, such as Max Ernst, carried the technique over into the new movement. Ernst described photomontage as "the systematic exploitation of the accidentally or artificially provoked encounter of two or more foreign realities on a seemingly incongruous level - and the spark of poetry that leaps across the gap as these two realities are brought together". Surrealism also pioneered collaborative photomontage through the cadaver exquis (exquisite corpse) technique whereby the various participants contributed to the piece while remaining unaware of the origins of the previous contribution. Some Surrealists, such as Dora Maar, were known primarily for their photomontage, though many leading Surrealists, including René Magritte, Man Ray, and Salvador Dalí included the technique in their repertoire. Their works also exercised an important international influence, as seen, for instance, in Harue Koga's Sea (1929) which helped pioneer Surrealism in Japan. He too used the collage technique to create what have been called "photomontage paintings".

Cinema - The Montage of Moving Images

D. W. Griffith's masterclass in continuity montage has proved difficult for film historians and aesthetes to come to terms with.

Between 1899 and 1909 the grammars of cinema entered a chaotic period of experimentation in which filmmakers hurried to test the possibilities of editing individual shots of film together into something more meaningful. Between 1909 and 1919 one D. W. Griffiths almost singlehandedly developed the method of montage that gave rise to the Classical Realist Narrative; known otherwise as the Classical Hollywood Film. A profoundly problematic figure for historians given his supremacist and pious worldview, through films like The Birth of a Nation (1915) he devised a system of montage that was so sophisticated he placed the spectator in the world of a feature length film; side-by-side the heroes and heroines that drive that narrative. With Griffith, the phenomenon of modern cinema-going was duly born.

Eisenstein closes his film <i>Battleship Potemkin</i> with three independent shots that, when combined, represented the rise (and roar) of the proletariat.

Just as the modernists had responded to the illusionism of "combination prints", the Dadaists, Constructivists and Surrealists all produced films that challenged the Classical Narrative system. In Russia (and in awe of Griffith's achievements) filmmakers such as Sergei M. Eisenstein and Dziga Vertov experimented with alternative methods of film montage. Eisenstein developed five stages of montage - metric, rhythmic, tonal, over tonal, intellectual - that combined to bring a revolutionary dynamism to filmmaking: "the fact [is] that two film pieces of any kind, placed together, inevitably combine into a new concept, a new quality, arising out of a juxtaposition" stated Eisenstein in his famous treatise on montage The Film Sense.

Buñuel and Dalí's <i>Un Chien Andalou (An Andalusian Dog)</i>. Quite possibly the most shocking opening sequence in the history of cinema.

Probably the most famous (and certainly the most notorious) of the early art films was the 17 minute Surrealist masterpiece Un Chien Andalou (1929), by Luis Buñuel and Salvador Dalí. There is no temporal or spatial relationship between scenes with seemingly random and startling set pieces spliced together on the principle of a dream logic. Indeed, the film only touches on the idea of a coherent narrative through the continued presence of the same actors and the somewhat sparse use of motifs (striped objects for instance). By juxtaposing individual scenes, "dreamed up" independently by the two artists, Un Chien Andalou conformed to the idea, popular with Surrealists, of Freudian free-association.

Pop Art

Peter Blake, <i>Sergeant Pepper's Lonely Hearts Club Band</i> (EMI Records, 1967). Featuring 88 celebrities and historical figures, Peter Blake and his wife Jann Haworth constructed a set of life-size cut-outs with the real-life band placed the center of the frame. The album cover is possibly the most recognizable photomontage of all time.

Within British Pop Art, experiments with photomontage started as early as 1947 with Eduardo Paolozzi's BUNK! (1947-52), a series of 54 works composed of found or sourced photographs from American magazines. It was however Richard Hamilton's Just What Is It That Makes Today's Homes So Different, So Appealing? (1956), that introduced British Pop to the world. He too used images cut and pasted from American mass media publications and in so doing Hamilton offered an affectionate critique of post-war American consumer society.

The work of Paolozzi and Hamilton highlights the problem of how one classifies photomontage. In America, too, James Rosenquist, and Martha Rosler emerged as leading American Pop artists who experimented with a photomontage/collage technique. Rosenquist's President Elect (1960-61), for instance, combined images of President John F. Kennedy, a slice of cake, and an automobile while Rosler's works often connected found-images of middle-class housewives and interiors as an implicit feminist critique of contemporary American culture. Pop Art highlights the difficulty historians face when they attempt to categorize art generically since, sooner or later, one approach will organically overlap with another (photomontage and collage in this example).

Later Developments

By the 1970s photomontage was taken up by a number of prominent individuals. Artists, including Martha Rosler, Peter Kennard, Linder Sterling, and Barbara Kruger created composite works that gathered under the rubric of social protest and identity politics. Moving into the late-twentieth and early-twenty-first century, new photographic and digital technologies allowed for further innovations. These developments are evident in the conceptual digital photomontages of Andreas Gursky and Jeff Wall. David Hockney, meanwhile, developed photomontages out of Polaroid prints, calling them "joiners", while John Stezaker combined postcards with film stills.

The blended and juxtapositional constituents of photomontage have become time-honoured and omnipresent in the digital age. Many examples of digital photomontage are now designed to celebrate the imagination of the artist. The Spaniard Antonio Mora, for instance, uses images found on blogs and other online sources to create a "pure art" concerned with nothing more than visual effects and aesthetics. More recently, photomontage has become an essential element of multimedia installation, as seen for instance in Kruger's Belief + Doubt (2012) and Lorna Simpson's Unanswerable (2018).

Key Artists

  • Hannah Hoch was a German-born Dada artist. She and Raoul Hausmann were among the first artists to work in photomontage. Hoch is most famous for her works dating from the Weimar years, most notably 1919's 'Cut with the Dada Kitchen Knife through the Last Weimar Beer-Belly Cultural Epoch in Germany,' which critiqued Weimar Germany.
  • John Heartfield was a German graphic designer and political activist, most renowned for creating a number of anti-Fascist propaganda photomontages. Heartfield is also noted for his contributions to the Dada movement, creating stage designs, book covers, and altogether merging politics and art.
  • George Grosz was a German Dada and Neue Sachlichkeit artist. He was enamored of America and highly critical of Weimar society. Grosz immigrated to the United States just as Hitler came to power and opened a private art school in Des Moines.
  • El Lissitzky was a Russian avant-garde painter, photographer, architect and designer. Along with his mentor Kazimir Malevich, Lissitzky helped found Suprematism. His art often employed the use of clean lines and simple geometric forms, and expressed a fascination with Jewish culture. Lissitzky was also a major influence on the Bauhaus school of artists and the Constructivist movement.
  • Aleksander Rodchenko was a Russian artist, sculptor, photographer, and graphic designer. Concerned with the need for analytical-documentary photo series, he often shot his subjects from odd angles - usually high above or below - to shock the viewer and to postpone recognition. He was one of the founders of Constructivism and Russian design; he was married to the artist Varvara Stepanova.
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Do Not Miss

  • Collage was first employed in fine art in the context of Cubism, and involved the introduction of pre-existing materials into new designs, often to produce a playful ambiguity between art and reality. It has since been enormously influential, impacting not only drawing and painting but also attitudes to sculpture.
  • Assemblage is a style of sculpture inspired by the idea of introducing pre-existing, non-art objects into an art context. Although one can find precedents for the approach in the work of Duchamp and Picasso, it flourished as a tendency in the 1950s and 1960s, and continues to be a prominent techinique today.
  • Cubism was developed by Pablo Picasso and Georges Braque between 1907-1911, and it continued to be highly influential long after its decline. This classic phase has two stages: 'Analytic', in which forms seem to be 'analyzed' and fragmented; and 'Synthetic', in which pre-existing materials such as newspaper and wood veneer are collaged to the surface of the canvas.
  • Dada was an artistic and literary movement that emerged in 1916. It arose in reaction to World War I, and the nationalism and rationalism that many thought had led to the War. Influenced by several avant-gardes - Cubism, Futurism, Constructivism, and Expressionism - its output was wildly diverse, ranging from performance art to poetry, photography, sculpture, painting and collage. Emerging first in Zurich, it spread to cities including Berlin, Hanover, Paris, New York and Cologne.

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Content compiled and written by Rebecca Seiferle

Edited and published by The Art Story Contributors

"Photomontage Definition Overview and Analysis". [Internet]. . TheArtStory.org
Content compiled and written by Rebecca Seiferle
Edited and published by The Art Story Contributors
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First published on 25 Feb 2020. Updated and modified regularly
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