Arman, Venus de Milo, 2001
|Artist:||Arman (1928 - 2005)|
|Title:||Venus de Milo, 2001|
|Medium:||Sliced iron sculpture on a rectangular base|
|Image Size:||Dimensions: 20 7/8 in x 7 7/8 in x 5 7/8 in (53 cm x 20 cm x 14.9 cm)|
|Edition:||Numbered from the edition of 80 incised on a plaque on the left side of the sculpture base.|
|Signature:||This work has the signature of Fernandez Arman (Nice, 1928 – New York, 2005) incised on a plaque on the left side of the sculpture base.|
|Condition:||This work is in excellent condition.|
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Historical Description of this artwork
Arman Venus de Milo, 2001 takes the iconic silhouette of the Greek sculpture and deconstructs it into industrial iron outlines, which line up in a floating cross-section across a matching base. A slight change the angle at which we view the piece dynamically changes it, as the negative spaces and multiple silhouettes shift and skew. Though the entire piece is virtually one color, the edges shine bright and the deeper slices are thrown into dark shadows, giving the piece a rich variety of values. This dark and metallic, planar and precise Venus has virtually nothing in common with the ivory and soft form of the Grecian marble, yet we instantly recognize its armless contrapposto silhouette. The faceless and two dimensional slices challenge the viewer to question the reverence of the famous sculpture; as we examine the fragmented and constantly transforming work, we begin to wonder what truly defines and differentiates this iron Venus from the marble one. Like with many of his other striking sculptural works, Arman methodically divides the Venus form, creating a beautiful multiplicity of line. With Venus de Milo, we get an enchanting repetition that arrests the viewer’s eye by presenting the same familiar outline over and over, until we are captivated by it in a way that perhaps we are no longer captivated with the overly-familiar original marble. Beautifully sharp and captivating, Arman Venus de Milo is a refreshing and smart take on an old classic.
Created in 2001, this sliced iron sculpture on a rectangular base has the signature of Fernandez Arman (Nice, 1928 – New York, 2005) and the edition number from the edition of 80 incised on a plaque on the left side of the sculpture base.
Catalogue Raisonné & COA:
Arman Venus de Milo, 2001 is fully documented and referenced in the below catalogue raisonnés and texts (copies will be enclosed as added documentation with the invoices that will accompany the sale of the work)
1. A Certificate of Authenticity will accompany this artwork.
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.