Arman, Ali Baba, 2005
|Artist:||Arman (1928 - 2005)|
|Title:||Ali Baba, 2005|
|Medium:||Original relief sculpture of varnished iron mounted on wood multiple|
|Image Size:||51 1/4 in x 41 1/4 in x 2 1/4 in (130.2 cm x 104.8 cm x 5.7cm)|
|Edition:||Annotated 'EA I/IV' on the wood mount (aside from the edition of 8 and 2 hors commerce).|
|Signature:||This work is hand signed by Fernandez Arman (Nice, 1928 - New York, 2005) in silver ink on the top of the wood mount.|
|Condition:||This work is in good condition.|
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Item # 2785
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Historical Description of this artwork
Highlighting the physical beauty of the violin, Arman aligns varnished, wooden violin covers against a black background. The violins, placed in linear fashion next to each other, create an undulating pattern that contributes to an overall rhythmical effect. The piece is not entirely geometric; while Arman stacks the violins neatly next to each other, they are not entirely proportional. Some tilt slightly to the side while others are placed the tiniest bit higher or lower than their their neighbors. This subtle differentiation adds a sense of uniqueness to the piece adds a hint of animation, as if the motion utilized to play these violins captured within the instruments themselves. The glossy surface of the violins captures the light, encouraging viewer interaction with this sculptural work. This piece represents Arman’s long held fascination with the violin, for the artist adeptly captures both the solidity of the instrument and the emotional range of the music which it produces.
Created in 2005, this original relief sculpture of varnished iron mounted on wood multiple is hand-signed by Fernandez Arman(Nice, 1928 – New York, 2005) in silver ink on the top of the wood mount and annotated ‘EA I/IV’ on the wood mount (aside from the edition of 8 and 2 hors commerce).
Catalogue Raisonné & COA:
A Certificate of Authenticity will accompany this work.
About the Framing:
Framed to museum-grade, conservation standards, this work is displayed in a complimentary black moulding.
What Do I Get With My Purchase?
The Certificate of Authenticity accompanies this work, guaranteeing its authenticity for as long as you own it.
All catalogue raisonné and historical documentation is included with your purchase.
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Bronze sculptures, hand-knotted tapestries, color screenprints, and creative paintings
all speak to Arman’s fascination with form, music, and rhythm and his exploration
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Armand Fernandez was a French born sculptor who settled in New York in 1963 and became an American citizen in 1972. Born in Nice in 1928, he learned oil painting and photography from his father, an antiques dealer. After receiving his bachelor’s degree in philosophy and mathematics in 1946, Arman began studying at the École Nationale des Arts Décoratifs in Nice. He also started judo at a police school in Nice where he began lifelong friendships with Yves Klein and Claude Pascal. Completing his studies in 1949, Arman enrolled as a student at the École du Louvre in Paris, where he concentrated on the study of archaeology and oriental art.
Such vast interests likely influenced his artistic style that focused around the accumulation of vast quantities of the same objects. In 1957 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. 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.
In 1961, Arman made his debut in the United States, and during this period, he explored creation via destruction. The “Coupes” and the “Colères” featured sliced, burned, or smashed objects arranged on canvas, often using objects with a strong “identity” such as musical instruments (mainly violins and saxophones) or bronze statues. Arman passed away in 2005 leaving an incredibly accomplished list of accumulations.
Chilvers, Ian, Oxford Dictionary of 20th Century Art, Oxford, New York, Oxford University Press, 1998.