Arman, Untitled, 1997
|Artist:||Arman (1928 - 2005)|
|Medium:||Oil, paint brushes and violin parts on canvas on panel|
|Image Size:||DIMENSIONS: 23 1/2 in x 12 in x 3 in (59.7 cm x 30.5 cm x 7.6 cm)|
|Edition:||Unique original work|
|Signature:||This work is hand signed by Fernandez Arman (Nice, 1928 – New York, 2005) on the overlap.|
|Condition:||This work is in excellent condition.|
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Historical Description of this artwork
Treading the line between accumulation and destruction, Arman Untitled, 1997 is comprised both of violin parts as well as a collection of paint brushes. Upon first glance, the myriad of colors almost camouflages the violin and the brushes. Our first hint that this is not a strictly two-dimensional work is the handles of the brushes that stick over the top of the canvas. The closer we look, we begin to make out the violin that has been covered with bright paint streaks. The violin is cut into segments, like Arman’s destruction sculptures, yet it maintains the overall appearance of the instrument. The brushes follow trails of color, as if they painted then line and then were glued into place on the canvas halfway through. In this sense, the piece has a ‘frozen-in-time’ quality to it. It feels as if the brushes could be picked up, the painted lines continued, and eventually the brushes removed from the composition entirely. But the frozen quality is what makes the piece so exciting – it leaves the viewer in anticipation of what would come next, and retains the energy of the truncated motion.
Arman focused on musical instruments in much of his oeuvre, and in particular the violin. There is a lyrical quality to the work, and also the confusing and delightful contrast of a broken musical instrument in stasis.
Created in 1997, this oil, paint brushes and violin parts on canvas on panel is hand signed by Fernandez Arman (Nice, 1928 – New York, 2005) on the overlap.
Catalogue Raisonné & COA:
Arman Untitled, 1997 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. This work is recorded in the Arman Studio Archives, New York.
2. This work will be in included in the forthcoming Arman catalogue raisonné being prepared by Denyse Durand-Ruel, Paris.
3. 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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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.