Famous Collage Artists著名的拼贴艺术家

Artists who make collages are not unified by their technique or a specific aesthetic for their work. Using this malleable and expressive medium， their instincts have shaped the way that we see and make images， as well as how we understand them.

拼贴艺术没有统一的技巧，也没有特定的审美，但因为可塑性强且具有表现力，艺术家得以通过拼贴展示创作天赋，并对世人观察创作、理解图像的方式都产生影响。

Some of the most famous collage artists have been able to evoke both serious complexity and irreverent absurdity， often simultaneously.

部分顶级拼贴艺术家的作品往往能同时唤起观者截然不同的感受，既真心觉得它富有内涵，又不屑地认为它荒诞不经。

Henri Matisse （1869–1954）

亨利·马蒂斯（1869—1954）

Henri Matisse’s cut-outs， created during the last decade of his life， had a significant impact on our contemporary understanding of collage art.  Henri Matisse’s final years were full of turmoil. Following a separation from his wife and the outbreak of World War II， the French artist was diagnosed with intestinal cancer， which caused him to be bedridden for months at a time. And yet， Matisse never surrendered his art to the distressing circumstances at hand.

法国艺术家亨利·马蒂斯在生命最后十年间创作的剪纸作品对当代人理解拼贴艺术具有十分重要的影响。马蒂斯的晚年飘摇动荡，和妻子分开，经历二战爆发，后又被诊断出肠癌，导致动辄就要卧床数月。但虽然面临诸多困境，他却从未因此放弃艺术追求。

When surgery to treat his cancer left him too weak to paint on canvases， Matisse shifted his artistic methodology and turned to cut paper as his primary medium， using scissors as his tool. His cut-outs， often inspired by the natural world or abstract forms， were arranged into lively compositions that transcended the confines of easel painting and allowed him to work with a new type of free reign.

手术之后的马蒂斯身体极度虚弱，无法在画布上作画，就改变创作方式，转而拿起剪刀，将剪纸作为主要创作手法。马蒂斯的剪纸灵感往往来自自然界或抽象图形，经过巧妙安排后构成一幅幅生动的作品。剪纸不受画架绘画的限制，使他能以一种新的形式继续自由创作。

The cut-outs also introduced a new operation in art， which came to be known as “drawing with scissors”.

马蒂斯的剪纸作品也催生了一种新的艺术实践，就是后来大家熟知的“剪纸绘画”。

Kurt Schwitters （1887–1948）

库尔特·施维特斯（1887—1948）

Kurt Schwitters was a German artist involved in both Dadaism and Constructivism， best known for his Merz and Merzbau works. He coined the term “Merz”1 to describe his unique style of art that involved using everyday objects to create his works.

德国艺术家库尔特·施维特斯是达达主义和建构主义的代表人物，最为出名的是其“梅尔兹”和“梅尔兹屋”系列作品。施维特斯创造了“梅尔兹”一词来描述他独有的艺术风格，即利用日常物品进行创作。

Schwitters uniquely produced images that combined oil painting on canvas with assemblage. He pasted and nailed the materials onto his surfaces. The different materials included ink pad stamps， ticket stubs， matchbooks， daily newspapers， photo clippings， garbage， and other everyday objects.

施维特斯用独特的手法将帆布油画和集合艺术相结合，把材料粘贴、钉于油画表面。他选用的材料五花八门，包括油墨印章、票根、火柴盒、日报、裁剪的照片、废弃物及其他日常物品。

To Schwitters， the material was of no consequence. His Merz pictures show only form， no content. He aimed to assemble these daily items into Cubist collages and find a rich and complex arrangement of material that negated the individual features of the objects creating new pictorial symbols.

对施维特斯来说，材料无关紧要，梅尔兹只为展示形式，不重内容。他意在把日常物件拼合成立体派拼贴作品，挖掘复杂丰富的组合方式，消解物品的个体特征，创造出全新的图画符号。

Increasingly， he began to blur the lines between collage and found art2. The And-Picture （1919） was seen as readymade， though it is a combination of collage， painting， and found objects.

施维特斯逐渐模糊了拼贴艺术和现成品艺术两者之间的界限，创作于1919年的《和图画》在当时被视为现成品艺术，但实际上融合了拼贴、绘画和现成品。

Hannah Höch （1889–1978）

汉娜·霍赫（1889—1978）

German artist Hannah Höch was considered an originator of the method of photomontage. Earlier in her career， she had been associated with Dada and in 1919， Höch worked at a large publishing house in Berlin where she became inspired by the printed imagery around her. Leafing through the many publications in her office， she began to cut out images that interested her. She arranged the images in jarring yet jovial juxtapositions whilst demonstrating restraint and embracing negative space.

德国艺术家汉娜·霍赫是蒙太奇摄影的鼻祖。霍赫在艺术创作早期属于达达派，自1919年起供职于柏林一家大型出版公司期间，因为经常接触印刷图片，受到很大启发，就在办公室众多出版物中翻找，发现感兴趣的图片就剪下。霍赫把图片组合成怪诞轻松的作品，从中能看出她的克制和对留白的认同。

The most famous Hannah Höch collage is “Cut With the Kitchen Knife through the Beer-Belly of the Weimar Republic” （1920）， which measures 90 by 144 centimeters. The masculine aesthetic was achieved through cutouts of war machinery， cogs， airplanes， and guns. Höch’s fascination with machines echoes the fast-paced destruction of industrialization.

霍赫最著名的拼贴作品是《用厨刀切除魏玛共和国的啤酒肚》，长144厘米宽90厘米，创作于1920年。作品通过战争机器、齿轮、飞机、枪支剪纸来表现出男性的审美，而她对机器的痴迷则呼应了工业化的迅速瓦解。

Höch’s most famous work， effortlessly titled ‘Cut with the Dada Kitchen Knife through the Last Weimar Beer-Belly Cultural Epoch in Germany’， shows her ideals and techniques in synthesis. A collage of newspaper clippings， the work challenges the racist and sexist codes upholding Weimar Germany. Throughout her career， Höch would challenge the marginalised place of women in twentieth century Germany. She drew together fashion magazines， illustrated journals and photography to pioneer a form bent on3 demonstrating that art itself could be collected from the everyday clutter of modern life.