Arman, Untitled (Saxophone), 1984
|Artist:||Arman (1928 - 2005)|
|Title:||Untitled (Saxophone), 1984|
|Image Size:||DIMENSIONS: 30 in x 19 in x 8 in (76.2 cm x 48.3 cm x 20.3 cm)|
|Edition:||Numbered from the edition of 150.|
|Signature:||This work is hand signed by Fernandez Arman (Nice, 128 - New York, 2005) on the sculpture.|
|Condition:||This work is in excellent condition.|
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Item # 5050
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Historical Description of this artwork
Sliced vertically into three delicate pieces, Arman creates an exquisite, nearly life size sculpture of a saxophone. Though this saxophone is disjointed and disconnected, it retains a sense of uniformity, as if the pieces could easily fit back together to form a solid instrument. Separated,however, the piece relays a sense of fragility; the instrument appears to nearly float above its dark green, marble base, connected only by thin, bronze, strips that quiver at the slightest movement. Arman does not lose any detail in this depiction; each lever and button is clearly conveyed in this sculpture; so accurate is his depiction that the viewer cannot help but feel as if Arman cut a real instrument rather than casting it in bronze with nickel plating.
Created in 1984, this original bronze sculpture is hand signed by Fernandez Arman (Nice, 128 – New York, 2005) along the lower side of the sculpture and numbered from the edition of 150.
Catalogue Raisonné & COA:
A Certificate of Authenticity will accompany this work.
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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.