Arman, Statue of Liberty
|Artist:||Arman (1928 - 2005)|
|Title:||Statue of Liberty|
|Medium:||Cast bronze sculpture with green oxidized patina|
|Image Size:||HEIGHT: 29 in (73.6 cm)|
|Edition:||An artist’s proof numbered from the edition of 20; aside from the numbered edition of 100.|
|Condition:||This work is in excellent condition.|
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Historical Description of this artwork
Arman Statue of Liberty features a recurring motif in the artist’s body of work. Throughout his career, Arman has worked with themes and techniques of “accumulations” and “deconstructions”- works of art which he either smashed, sliced or burned. These objects tended to be musical instruments, sculptural reproductions and even furniture. He began creating his “deconstructions” in 1959 with his Violins brules, instruments that he dissected into their wood panels. The motivation behind his artistic action is to suspend the action of deconstruction and control the final stages of an object’s life span. His object oriented approach harkens back to Marcel Duchamp. Yet, Arman differentiates himself by saying “as I evolved into object art, I found myself being called a Pop-Artist, but the term isn’t exactly right. Pop-Artists redo the object. I used the real object. Marcel Duchamp, who is the obvious father of object art, might have taken a soup can and put it on a pedestal. Andy Warhol would repaint the soup can. Jasper Johns would cast it in bronze. I’d take the soup can and cut it into pieces or weld hundreds of them together in order to change the state of the object from what it was when you first saw it in the supermarket. My interest is in exploring the various worlds of the object.”
This unique view of the Statue of Liberty entices the eye to explore its many layers of diverse perspectives in interpretation. Each piece of the original statue is divided and staggered, retaining its original forms despite the image of deconstruction. Sitting atop her head is her famous gold crown. The torch in her right hand is also colored a brilliant gold sheen. Throughout the colors, one can still discern the intricate folds of her robe and the details of her costume. Her facial feature is subtly discernable, encouraging a closer study.
This cast bronze sculpture with green oxidized patina is an artist’s proof numbered from the edition of 20; aside from the numbered edition of 100.
CATALOGUE RAISONNÉ & COA:
Arman Statue of Liberty 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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Artistic Styles of Arman
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News About Arman
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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.