Arman, Rondelle de Belle (Slice of Beauty), 1994
|Artist:||Arman (1928 - 2005)|
|Title:||Rondelle de Belle (Slice of Beauty), 1994|
|Medium:||Terracotta sculpture with glaze|
|Image Size:||HEIGHT: 57 in (144.78 cm)|
|Edition:||From an edition of 5.|
|Condition:||This work is in excellent condition.|
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Item # 5704
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Historical Description of this artwork
Arman Rondelle de Belle (Slice of Beauty), 1994 is a pearlescent sculpture distinct in its color and form. Deconstructed and sliced sculptures constitute significant portions of Arman’s oeuvre. Arman explains “In the search for a new creation…I have in a conscious manner explored my own local district (in Paris) for rubbish, waste, and scrapped manufactured goods: in a word, everything that is non-utilized. I affirm that the very expression of this rubbish and these objects has a distinctive worth of its own, without any attempt, on my part, at aesthetic arrangements that might make them lose their intrinsic value.” For the remainder of his career, he focused on the accumulating and destructing works of art and found objects.
At a glance, the sculpture clearly depicts a nude, female body. She stands in the contrapposto pose, commonly associated with Greek sculptures. Naturally, viewers will begin to recall similarities between Rondelle de Belle and Venus de Milo. Arman therefore appropriates a traditional genre and transforms it into a work of sculptural abstraction. Every portion of her body is carefully sliced and stacked, creating a form that appears to move and vibrate despite its stagnant pose. Furthermore, the image appears almost as a visual illusion, subtly manipulating the ways viewers perceive space, dimension and form. Therefore, this sculpture transforms a classical art object into a repurposed readymade. Its glowing pink sheen reminds the audience that above all, this is a work of beauty.
Created in 1994, this Terracotta sculpture with glaze is numbered from the edition of 5.
CATALOGUE RAISONNÉ & COA:
Arman Slice of Beauty (Rondelle de Belle), 1994 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.