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graphs from the J. Paul Getty Museum. Los Angeles: J.
Paul Getty Museum, 1995.MONTAGE
Montage refers to a variety of related artistic techni-
ques developed during the early part of the twentieth
century in photography, film, literature, and the
plastic arts, whereby parts of separate works are
appropriatedandjuxtaposedtomakeanewart-
work. Usually, the heterogeneity of the components
is foregrounded by leaving visible the seams where
the pieces were put together; often too, a break in
visual, temporal, or narrative continuity foregrounds
the technique. The terms collage, assemblage, and
photomontage have at times been used interchange-
ably with montage, but they may be used with
slightly different valences as well. Collage is often
favored as a term to describe still, non-photographic
images that have been ‘‘cut and pasted’’ together;
assemblage often refers to three-dimensional, sculp-
tural works that are created from other pre-existing
objects. Since the term ‘‘montage’’ was made famous
by Sergei Eisenstein in conjunction with his film,
Battleship Potemkin(1925), this term is more often
associated with film than with other media, while
photomontage is the term often used to describe a
montage made from still photographs.
The origins of montage techniques (as a form of
artistic practice) is generally acknowledged to be in
1912 with Cubism, when Pablo Picasso and Georges
Braque began integrating materials such as newspa-
per scraps or waxed paper into their paintings.
Thoughsimilartechniqueshadbeenusedinadver-
tising for some time previous, it was not done with
any apparent theory or organized practice. It is with
Cubism that montage techniques enter the artistic
vocabulary. Photomontage began as an avant-garde
practice with the Berlin Dada group. Two sets of
artists have claimed to be its originators: Raoul
Hausmann and Hannah Ho ̈ch on the one hand;
John Heartfield (Helmut Herzfeld) and George
Grosz on the other. Whomever the innovators may
have been, photomontage seems to have been fully
assimilated as an aesthetic practice by 1919. The
impetus was to create a sense of shock and distance
in the viewer. This often was accomplished by using
images that were familiar (or of a familiar type), but
combining, cutting, or manipulating them in a way
that placed them in an entirely new context. In
Ho ̈ch’sCut with a Kitchen Knife(1919), for example,
images taken from mass media periodicals are com-
bined to make a statement, however elliptical, about
the position of the recently enfranchised ‘‘New
Woman’’ of Weimar Germany. Images of the estab-
lishment are juxtaposed with those of a female form
who seems to ‘‘cut’’ through what stands in her way.
This is typical of Dada photomontage: images are
taken from one context (magazines or newspapers),
manipulated, and given a new context in order to
impart a new message, often counter to the originally
intended one.
The Surrealists, working in the period between
World Wars I and II, used similar ideas in a differ-
ent way. Rather than revealing their manipulationMONTAGE