Photomontage

The Two Ways of Life, a moralistic photo montage of Rejlanders own work, 1857-a choice between vice (at left) and virtue (at right)

Robinson's Fading Away (1858)

The first and most famous mid-Victorian photomontage (then called combination printing) was "The Two Ways of Life" (1857) by Oscar Rejlander,[3] followed shortly thereafter by the images of photographer Henry Peach Robinson such as "Fading Away" (1858). These works actively set out to challenge the then-dominant painting and theatrical tableau vivants.

Carnival, South End Exhibition Rink, Halifax, Nova Scotia, Canada, February 1899; The carefully prepared photomontage composite was a Notman specialty, each figure being photographed separately and then combined as a single image

In late Victorian North America, William Notman of Montreal used photomontage to commemorate large social events which could not otherwise be captured on film. Fantasy photomontage postcards were also popular in the late Victorian era and Edwardian era.[4] One of the preeminent producers in this period was the Bamforth & Co Ltd, of Holmfirth, West Yorkshire, and New York. The high point of its popularity came, however, during World War I, when photographers in France, Great Britain, Germany, Austria, and Hungary produced a profusion of postcards showing soldiers on one plane and lovers, wives, children, families, or parents on another.[5] Many of the early examples of fine-art photomontage consist of photographed elements superimposed on watercolours, a combination returned to by (e.g.) George Grosz in about 1915.

In 1916, John Heartfield and George Grosz experimented with pasting pictures together, a form of art later named "Photomontage.”

George Grosz wrote, "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. As so often happens in life, we had stumbled across a vein of gold without knowing it."[6][7]

John Heartfield and George Grosz were members of Berlin Club Dada (1916–1920).[8] The German Dadists were instrumental in making montage into a modern art-form. The term "photomontage” became widely known at the end of World War I, around 1918 or 1919.[5]

Heartfield used photomontage extensively in his innovative book dust jackets for the Berlin publishing house Malik-Verlag.[9][10] He revolutionized the look of these book covers. Heartfield was the first to use photomontage to tell a “story” from the front cover of the book to the back cover. He also employed groundbreaking typography to enhance the effect.[11]

From 1930 to 1938, John Heartfield used photomontage to create 240 “Photomontages of The Nazi Period”[12][13] to use art as a weapon against fascism and The Third Reich. The photomontages appeared on street covers all over Berlin on the cover of the widely circulated AIZ magazine published by Willi Münzenberg, Heartfield lived in Berlin until April, 1933, when he escaped to Czechoslovakia after he was targeted for assassination by the SS. Continuing to produce anti-fascist art in Czechoslovakia until 1938, Heartfield's political photomontages earned him the number five position on the Gestapo's Most Wanted List.

Hannah Höch began experimenting with photomontage in 1918. Höch worked for Ullstein Verlag designing knitting and embroidery patterns that were inspired by her photomontage work of the time.[14] She continued to work with photomontage for almost the rest of her life, even after she broke from the Berlin Dadaists.

Other major artists who were members of Berlin Club Dada and major exponents of photomontage were Kurt Schwitters, Raoul Hausmann, and Johannes Baader. Individual photographs combined to create a new subject or visual image proved to be a powerful tool for the Dadists protesting World War I and the interests that they believed inspired the war. Photomontage survived Dada and was a technique inherited and used by European Surrealists such as Salvador Dalí. Its influence also spread to Japan where avant-garde painter Harue Koga produced photomontage-style paintings based on images culled from magazines.[15] The world's first retrospective show of photomontage was held in Germany in 1931.[16] A later term coined in Europe was, "photocollage", which usually referred to large and ambitious works that added typography, brushwork, or even objects stuck to the photomontage.

Parallel to the Germans, Russian Constructivist artists such as El Lissitzky, Alexander Rodchenko, and the husband-and-wife team of Gustav Klutsis and Valentina Kulagina created pioneering photomontage work as propaganda, such as in the journal USSR in Construction, for the Soviet government.

Following his exile to Mexico in the late 1930s, Spanish Civil War activist and montage artist, Josep Renau Berenguer, compiled his acclaimed, Fata Morgana USA: the American Way of Life, a book of photomontage images highly critical of American culture and North American "consumer culture".[17] His contemporary, Lola Alvarez Bravo, experimented with photomontage on life and social issues in Mexican cities.

In Argentina during the late 1940s, the German exile, Grete Stern, began to contribute photomontage work on the theme of Sueños (Dreams), as part of a regular psychoanalytical article in the magazine, Idilio.[18]

The pioneering techniques of early photomontage artists were co-opted by the advertising industry from the late 1920s onward. The American photographer Alfred Gescheidt, while working primarily in advertising and commercial art in the 1960s and 1970s, used photomontage techniques to create satirical posters and postcards.[19]^: 139

A 1950 photomontage by Grete Stern

Starting in the 1960s, Jerry Uelsmann became influential in the photomontage world, using multiple enlargers to utilize many techniques that would someday influence digital photomontage, down to the naming of tools in Photoshop. In 1985 he even published a book demonstrating and explaining his techniques, two years before Thomas and John Knoll began selling Photoshop through Adobe.

Ten years later in 1995, Adobe's creative director Russel Brown tried to get Uelsmann to test out Photoshop. Uelsmann didn't like it, but his wife Maggie Taylor did, and began using it to produce digital photomontage, becoming a founder of the modern genre.

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  Hannah Höch, Cut with the Kitchen Knife Dada Through the Last Weimar Beer Belly Cultural Epoch of Germany, 1919
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  Gustav Klutsis, design for a stand at the entrance to an exhibition, 1920
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  El Lissitzky, The Constructor, 1924

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  Composite of 11 different images
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  Perspective run
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  Photomontage showing what a complete iceberg might look like under water
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  Fotocollage
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  A modern photomontage
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  Showing five digits instead of four

Gallery of jane.jeruto Eldoretian like many of Eding