Arman, La Fenice III (The Phoenix III), 2004
|Artist:||Arman (1928 - 2005)|
|Title:||La Fenice III (The Phoenix III), 2004|
|Medium:||Cast Bronze Sculpture with Brown Patina and Gold Patina|
|Image Size:||DIMENSIONS: 23 1/4 in x 12 1/2 in x 5 1/2in (59.05 cm x 31.75cm x 13.9 cm)|
|Edition:||Numbered from the edition of 100 featuring the stamp of the foundry mark “BOCQUEL FD”|
|Signature:||This work has the incised signature of Fernandez Arman (Nice, 1928 – New York, 2005) on the base of the sculpture.|
|Condition:||This work is in excellent condition.|
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Historical Description of this artwork
Arman La Fenice III (The Phoenix III) , 2004 is a wonderful sculpture which embodies Arman’s artistic style. Dramatically displayed, this striking Arman sculpture depicts a burnt violin transforming before our eyes. Textural and expressive, the charred outer cracks open to reveal golden fragments of the violin. Arman juxtaposes the elegant curves of the violin with the charred and jagged fragments of the sculpture. Expressing that beauty can exist in the aftermath of destruction, La Fenice III (The Phoenix III) , 2004 is titled as such to offer additional emphasis to the theme of rebirth.
The motive behind his fascination with destructed violins is obvious. Arman explains “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.”
Created in 2004, this cast bronze sculpture with brown and gold patina has the incised signature of Fernandez Arman (Nice, 1928 – New York, 2005) on the base of the sculpture and numbered from the edition of 100 featuring the stamp of the foundry mark “BOCQUEL FD”
CATALOGUE RAISONNÉ & COA:
Arman The Phoenix III (La Fenice III), 2004 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 final sale of the work).
1.A Certificate of Authenticity will accompany this work.
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.