The history of Collage and Assemblage begins in the ten-years of the 20th century. The First World War gave the birth to "Dada" which was existed very little period as a united stream, but it put its tracks on many other literary schools during the following hundred years.
"Dadaizm" arose in Munich on 1916, it united the international Bohema, and it was Social - Psychological literary school with its character. German painter gathered together around the "Volter Club", Pablo Picasso and Vasili Kandinski show their interest. They were winning over with Lui Aragon, Poll Eluar, Marcel Dushan, Phrencis Pikabia, Men Rey.
There are many scandal histories at the 20th century's Art History, but "Dadaists" over fulfilled everybody and everything: "Chemical", "Gymnastics" or "Statically" evenings, where the poets cried the unintelligible words, the exhibitions were been organized by the scraps of newspapers, which were pasted on the linen, by the chimneys, washing machines of battles. Dadaists tried to provoke attention by the absurdity. The most "Sensitive" exhibition was organized in Kelni on 1920, in which were been appeared the typical of "Dada": Level of Esthetics, Absurdity, Chaotic State, everything which excludes the foresights; there was the refuse of religion, faith, moral and ethics too. "Dada" scandals had strength of the explosive bomb against the official ideology. Bringing people such the way was easier, then the exhibition by Marcel Dushan of "Mona Liza"s colored reproduction in the Festal Palace of Paris, which had drawn at large moustaches, or Pikabia's "Saint Virgin", which was the spot of ink, melt into the linen, and nothing else. The most typical of "Dada"s representatives is Phrencis Pikabia. His works with its introductory postscripts reminds us the technical drafts. Marcel Dushan's creation has not any plot too. He was considered as a great "Inventor". On 1914 he began to exhibit Ready Made which was represented ready domestic objects: Dushan's "Ready Made" was the try for going out from the Art, at the other side it incused the production into the matter. Dadaizm's Ready Made destroyed traditional Esthetics of Art and ruled the Social Opinion to "Make the things". Collage's three generalized equivalent is Assemblage, which comes back in time to Picasso's three generalized works and to the "Ready Made by Marcel Dushan.
Late in 50 years in London, then in New York was been developed amazing literary school. On 1954 the Britain theoretic L. Alovey called it "Pop-Art" – "Popular Art". Nobody thoughts that "New Art" would pave the way, but alive, energetically, decorative, cheap – it was in accordance of modern life's interior. Pop Art was with the permission, that in the Capitalist World everything becomes as a trade object and inculcates the massive materials in every sphere of live.
There is Britain and American Pop art, there is European Popular Art, and each of them is distinguished with its signs and character, but is these signs enough for us to consider the Pop Art as the literary School.
In his book "Modern Art" Trevin Kopelstown writes: "Pop" icons are not art as visual Phenomena. Point of view there is chosen symbols – no valuable in it, but they present the value of society. Pop Art doesn't need to present the Art. Come with 60 years we are under compulsion, to call it the Art. In spite of, it totally goes with the other direction.
The painter of American "Pop" goes out from the Deepings of himself and looks forward into the massive popular culture, which is created artificially. It is less "domestic" is shown in the street, parks, squares, at the happenings, where they propagandize themselves. As there is more demand of the society for the product, the artists use it more actively; For example Lichtenstein fames the details of commixes and uses it as a background, but Oldenburg creates the greatest plastically hamburger at the same background. Such method of approach levels to the real object and is spread with the culture, which makes it, which imagines the created icon. With this "pint" or as we say in American "Token", Pop Art says, that senseless is the Art, which has not fitted its forms. Most of painters try to find own individual characters. There are imagined Britain Pop Art's main signs in the work, widely are spread American Pop Artists: Robert Raushenberg, Jasper Johns, Endy Varholy, Roy Lichtenstein, Klass Oldenburg, Escobar Marisoly, Jim Dayn, Robert Indiana.