The discovery of the pasted paper technique was a revolution in painting as important for the twentieth century as the discovery of perspective had been in the days of the Renaissance. The astonishment which greeted the sudden appearance of the pasted paper in the field of classical figuration and the speed with which it spread between 1912, the year of its "revelation" to Braque and Picasso, and 1925, when it began to be widely accepted, is eloquent proof that the pasted paper revolution was one of the crucial phases of modernity in art. The practice of borrowing elements from reality -- manufactured items, quotations from printed illustrations, discarded scraps, and even bits of waste -- and including them, just as they are, in works of art, helped significantly to transform prevailing modes of feeling and thinking. Whether it was conceived as a weapon or as an object of fancy, the real material played a tangible role from now on in the viewer's perception of the work. It spoke simultaneously to his mind and to his sense fo touch; it brought art and life closer together. The radical nature of the pasted paper revolution, disrupting the traditional system of pictorial representation, was not at once recognized by art historians. Poets were quicker to discern its significance (first Apollinaire, then Breton, Aragon, Tzara, and Jean Paulhan). But the diversity of uses to which it was put by the avant-gardes of the early twentieth century vouches for the richness, aptness and necessity of this novel technique.
來源: Google Book