Arman, Untitled, 2003
|Artist:||Arman (1928 - 2005)|
|Medium:||Acrylic paint and papier-mâché on board multiple|
|Image Size:||58 1/2 in x 39 in (148.6 cm x 99.1 cm)|
|Sheet Size:||59 1/2 in x 40 in (151.1 cm x 101.6 cm)|
|Framed Size:||approx. 68 1/2 in x 48 3/4 in (174 cm x 123.8 cm)|
|Edition:||Numbered from the edition of 99 in acrylic on verso.|
|Signature:||This work hand-signed by Fernandez Arman (Nice, 1928 – New York, 2005) in acrylic paint in the lower right.|
|Condition:||This work is in excellent condition.|
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Item # 5254
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Historical Description of this artwork
Displayed in a grand scale and stunning composition, Untitled, 2003, is a truly exquisite example of Arman’s most celebrated theme, the violin. Executed in royal blue and black acrylic, Arman repeats the silhouette of the violin in a raised relief of papier-mâché against a ground of hazy yellow. The artist’s long-held fascination with the instrument manifests throughout his oeuvre, often utilizing the shape and symbol as an expressive subject, displaced from its everyday meaning, usually through an image of destruction. In this instance, we do not find the violin inflicted with the same destructive expression. The idealized and feminine form of the violin is celebrated and embraced, and the musicality of the object, unearthed through its rhythmic duplication.
Created in 2003, this acrylic paint and papier-mâché on board multiple is hand-signed by Fernandez Arman (Nice, 1928 – New York, 2005) in acrylic paint in the lower right, and numbered from the edition of 99 in acrylic on verso.
Catalogue Raisonné & COA:
A Certificate of Authenticity will accompany this work.
About the Framing:
This work is framed to museum-grade, conservation standards, presented in a complimentary moulding and finished with silk-wrapped mats and optical grade Plexiglas.
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.