ARMAN


Violon à Venise


Bronze

Edition of 99 ex.+ 20. AP

70 x 30 x 12 cm

 


Bougeoir aux cuillères


Bronze

Edition of 99 ex.

35 x 45 x 32 cm


Inclusion tubes de couleur


Inclusion of color tubes in resin

Limited Edition of 100 ex. + 20 AP + 20 HC

52 x 35 x 6 cm


Le Gambit


Resin

Edition of 70ex. + 5 AP – AP V/V

42 x 27 x 27 cm


Ukulele


Bronze

Edition of 99 ex.

29 x 38 x 34 cm


Inclusion Violon Brûlé


Inclusion of violon in resin

Edition of 100 ex.+ 20 AP

77 x 23 x 5 cm


Starry night, 1995


Acrylic et brushes on wood

184 x 148 cm

Unique piece


Inclusion tubes de peinture


Inclusion of painting tubes in resin

Limited Edition of 100 ex.+ 20 AP + 20 HC

52 x 35 x 6 cm


BIOGRAPHIE

“I specialize very much in… everything,” the French-born American artist, Arman, revealed to an interviewer in 1968. “I have never been — how do you say it? A dilettante.”

Born in Nice in 1928, Armand Pierre Fernandez showed a precocious talent for painting and drawing as a child. (Inspired by Vincent van Gogh, he signed his early work with his first name only; he retained a printer’s 1958 misspelling of his name for the rest of his career.) The son of an antiques dealer and amateur cellist, the artist absorbed an intense appreciation for music, the art of collecting and the cultivation of discriminating taste from an early age. After studies at the Ecole Nationale des Arts Décoratifs in Nice, Arman decamped to Paris to study art history at the Ecole du Louvre. An avid reader, Arman sought inspiration through books and art reviews, as well as during frequent road trips throughout Europe with his artist friends from Nice, Claude Pascale and Yves Klein.

More consequential yet was his signing, in 1960, of the manifesto of the “Nouveau Réalisme” (New Realism) movement, with fellow artists Klein, Martial Raysse and Jean Tinguely, among others. “New Realism equals new, sensitive, perceptive approaches to the real,” asserted the document, and Arman set out on a new course, in which he would re-examine the artistic possibilities of everyday objects, elevating the banal to the aesthetic, and refuse into art. Arman passed away in October 2005.

He’s one of the most prolific and inventive creators of the late 20th century, Arman’s vast artistic output ranges from drawings and prints to monumental public sculptures to his famous “accumulations” of found objects. His work—strongly influenced by Dada, and in turn a strong influence on Pop Art—is in the collections of such institutions as the Metropolitan Museum of Art in New York, the Tate Gallery in London and the Centre Pompidou in Paris.

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