ARMAN, Violin
Armand Fernandez. French born sculptor who settled in NewYork in 1963 and became an American citizen in 1972. He was born in Nice and studied brief… [Read biography »]




Signed Arman (1928 - ), Color Lithography, Violin ![]() |
| Artist: | Arman, Fernandez (1928 - ) |
|---|---|
| Title: | Violin |
| Medium: | Color Lithography |
| Image Size: | 22 in x 29 1/2 in (55.8 x 75 cm) |
| Sheet Size: | 27 in x 32 in (68.6 cm x 81.3 cm) |
| Framed Size: | 38 in x 45 1/2 in (96.5 x 115.6 cm) |
| Signed: | Arman, LR, pencil |
| Edition: | 40/90, LR, pencil |
| Condition: | This work is in pristine condition |
| Price: | $SOLD Please visit the rest of our ARMAN inventory » |
| Description: | |
Executed in a warm mahogany brown and deep green, Arman depicts the lyricism and volatility of the violin capturing an intense sense of kinetic energy. Drawing upon the oratory and visual senses, this work entrances the viewer with its multitude of layers. This work is printed on a fine heavy laid paper. The work is numbered and signed in pencil, 40/90 Arman and bears the blind stamp of Styria Studio. Capturing the energy and movement needed to play the violin, Arman displays the instrument from varied perspectives which turn and oscillate against the picture plain. The artist pays special attention to the structural quality of the instrument as seen in the emphasis upon the joint of the arm of the violin and the sculptural detailing of the tuning mechanisms. As part of Arman's long held fascination with the violin, the artist adeptly captures both the solidity of the instrument and the emotional range of the music which it produces. PROVENANCE: Alex Adelman, Georgetown, Washington, D.C., c. 1973 About the Framing: | |
| Style: | Pop Art, Nouveau Realisme, Assemblages |
Biography of Arman

Armand Fernandez. French born sculptor who settled in NewYork in 1963 and became an American citizen in 1972. He was born in Nice and studied briefly in Paris at the Ecole des Arts Decoratifs and the Ecole du Louvre. In 1957, with his friend Yves Klein, he decided to be known by his first name only, and the form 'Arman' was adopted in 1958 as the result of a printer's error on the cover of a catalogue. Like Klein he was interested in Japanese culture, particularly Zen Buddhism, and (again like Klein) he worked for a time as a judo instructor. In the early 1960s Arman gained a reputation as one of the leading exponents of Nouveau Réalisme and he is best known for his assemblages of junk material. These range from modest collections of household debris (Accumulation of Sliced Teapots, Walker Art Center, Minneapolis, 1964) to a huge tower (about 20 meters high) of 60 automobiles embedded in cement (Long-Term Parking, Cartier Museum, jouy-en-josas, 1982).
Chilvers, Ian, Oxford Dictionary of 20th Century Art, Oxford, New York, Oxford University Press, 1998.











