composite photographic image made either by pasting together individual prints or parts of prints, by successively exposing individual images onto a single paper, or by exposing the component images simultaneously through superimposed negatives. In the 1880s the juxtaposition of separate images through successive exposures became fashionable in the “combination print,” especially in the form of the contrived group portrait. The subjective, fragmented, potentially absurd qualities of this juxtaposition were exploited by Dadaist and Futurist artists of the early 20th century.

The photomontages of George Grosz (Grosz, George) and John Heartfield from this period are among the major examples of the form. Photomontage was also used extensively in the Pop art movement of the 1960s and 1970s. A technically sophisticated form of photomontage was developed by the U.S. photographer Jerry Uelsmann.