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ArmanGrey Mood 1978 Signed Limited Edition Screen Print 1978
1978
About the Item
Pierre Fernandez Arman
Year: 1978
GREY MOOD
Medium Type: Silkscreen, on grey vellum paper
Size-Width Size-Height: 22'' x 30''
Edition Size: Signed in pencil and marked 12/150
Step into the captivating world of Pierre Fernandez Arman, an artist celebrated for his mastery in assembling and dismantling objects with virtuosity. In his signed limited edition silkscreen print titled "GREY MOOD" from 1978, Arman showcases his unique ability to present familiar objects outside their expected context, creating thought-provoking compositions.
Arman's artistic approach defies convention as he recombines diverse elements in unconventional ways, challenging our perceptions and inviting us to explore new interpretations. His repertoire encompasses a vast "vocabulary" of images and materials, ranging from rusted saxophones to automobile parts, broken doll hands to busted violins, permanent press shirts to stainless steel teakettles, and even fresh garbage. It is through this eclectic assortment that Arman crafts highly original works that captivate both intellectually and visually.
- Creator:Arman (1928 - 2005, French)
- Creation Year:1978
- Dimensions:Height: 30 in (76.2 cm)Width: 22 in (55.88 cm)Depth: 1 in (2.54 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Rochester Hills, MI
- Reference Number:1stDibs: LU2335213730882
Arman
Arman was born in Nice, France, in 1928, and showed a talent for painting and drawing as a child. He studied at the the Ecole Nationale des Art Décoratifs in Nice followed by studies at the École du Louvre in Paris. In his early years he focused on abstract paintings. Then, in 1957, he became interested in common objects as works of art. He first did what came to be called his "allures d"objet" (object impressions), where he would dip an object into paint and press it on canvas thus leaving the object's shadow or impression. Then he decided the object itself was worth paying attention to and started to treat them in his own way. His intention was to remove the material purpose of an object so that its only remaining function was to "feed the mind" as a work of art. What better way to achieve that result than by breaking, slicing or even burning objects such as violins, telephones, typewriters or even whole cars? He also made objects useless by accumulating them, such as 2,000 wristwatches in a Plexiglass box that all kept different time. Once emotionally detached from the circumstances associated with a broken object, the viewer could grow to appreciate its abstract beauty; so, in a sense, Arman was literally teaching that things one never thought could be regarded as attractive could indeed turn out to be so. Through this achievement, Arman gained worldwide recognition and is regarded as one of the most prolific and inventive creators of the late 20th century. His work can be found in the collections of numerous museums including the Metropolitan Museum of Art in New York, the Tate Gallery in London and the Centre Pompidou in Paris. Arman’s work has also been exhibited in galleries, museums and public spaces worldwide including the Musée D’Art Contemporain in Tehran, Iran; the Museum of Art in Tel Aviv, Israel; the Musée Des Arts Decoratifs and Opéra De Paris in France; the La Jolla Museum of Contemporary Art in California; and the Museum of Arts and Design and the Guggenheim in New York He died in 2005 in New York.
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