Chapter V: Revolutionary Lineage Recognition (2018-2020)

The collage research revealed profound truth: VINTAGEMOZART wasn't inventing rebellion—he was continuing century-old tradition of artistic warfare.

When Georges Braque and Pablo Picasso coined "collage" around 1910, they weren't just experimenting with materials—they were declaring war on artistic hierarchy. Picasso's "Still Life with Chair Caning" (1912) represented "dramatic move away from traditional confinements of fine art practice, towards blurring of art and everyday culture."

Strategic Decision #10: Position digital collage as legitimate heir to revolutionary artistic tradition.

The Revolutionary Evolution:

• 1910s: Braque and Picasso fragment reality, introduce everyday materials into fine art

• 1920s: John Hartfield becomes "Dada Monteur," using "scissors and glue instead of brushes, as act of rebellion"

• 1960s: Nouveau Réalisme artists practice décollage—tearing away advertisement posters to reveal hidden truths

• 2020s: VINTAGEMOZART employs digital archaeology of cultural representation, reconstructing African narratives from fragmented mainstream imagery

The research identified collage's "recurring theme" as "anti-aestheticism and sense of elevating everyday into realm of high art." This became tactical framework:

• Anti-Aesthetic: Reject conventional beauty standards excluding African representation

• Elevate Everyday: Transform editorial fashion photography into mythological portraiture

• High Art Integration: Position digital techniques within fine art discourse

Like Hartfield earning nickname "Dada Monteur" for rejecting traditional brushes, VINTAGEMOZART became the "Digital Monteur"—rejecting physical materials for pixels and code while maintaining revolutionary spirit.