Fragment de Venus (Fragmented Venus)

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Arman
Fragment de Venus (Fragmented Venus)
1989

About the Item

This artwork titled "Fragment de Venus (Fragmented Venus)" 1989 is a sliced cast bronze sculpture by noted French artist Arman, 1928-2005. It is signed and numbered 46/100 on the base. Published by Editions de la Difference, Paris, France and cast by Regis Bocquel, Breaute, France. The bronze size is 15.25 x 6.5 x 3.65 inches, size including the marble base is 19.5 x 6.5 x 3.65 inches. It is in excellent condition. About the artist: Armand Pierre Fernandez, born in 1928, is a noted international object artist and a co-founder and member of the Nouveau Réalisme. He studied at the Ecole Nationale des Arts Décoratifs in Nice from 1946 to 1949, and then continued his studies for two years at the Ecole du Louvre in Paris. An acquaintance with Yves Klein led to the idea of organizing joint happenings and events, which the two artists realized in 1953. Armand's neo-dadaist 'Cachets' (stamp prints) of 1955, and later the 'Allures' (prints made with objects dipped into paint) and the 'Coupés' (cut-up objects) followed by the 'Colères' (objects which were smashed and then mounted) were still influenced by Kurt Schwitters. When the last letter of his name Armand was accidentally forgotten on a catalogue cover in 1958, he decided to keep this spelling of Arman. In 1957, Arman became interested in common objects as works of art. First he 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; thereby leaving the object's shadow or impression. Then he figured the objects themselves were worth paying attention to, and he started to "treat" them in his own way. Arman's way of treating objects is very special: his intention is to remove the material function of an object so that as a work of art its only possible function is to "teed the mind" and not serve a material purpose anymore. What better way could he find to achieve that result than by breaking, slicing or even burning objects such as a violin, telephone, typewriter or even a whole car. The artist discovered his famous 'Poubelles', Plexiglas cases with rubbish cast in resin, at the beginning of the 1960s. From the 'Poubelles' Arman developed the so-called 'Accumulations', a number of the same objects assembled in show cases. These arrangements consist mainly of objects of every-day life, with which the artist ironically questions the one-sided waste character of mass products. Arman began working on the 'Combustiones' (burnt objects) during a stay in New York in 1963. He accepted a teaching post in Los Angeles in 1967, and taught at the University of California until 1968. From 1975 onwards Arman spent seven years working on a monumental sculpture made of 60 cars which he called Long Term Parking. From the mid-1960s, Arman made numerous visits to New York, and he soon came to regard the USA as his second home, taking American citizenship in 1972. The stocks of new objects that he discovered there directed him towards new and more abstract accumulations. These culminated in 1967-8 in the Renault Accumulations (e.g. Renault Accumulation No. 106, 1967; see 1986 exh. cat., p. 221), highly sculptural works made from separate pieces supplied by the Renault car factory, and in large-scale commissioned monuments such as Long Term Parking (h. 18 m, 1982-3; Jouy-en-Josas, Fond. Cartier Mus.), a gigantic tower consisting of 60 cars embedded in concrete. In his later work he also recast some of his earlier Rages and Combustions in bronze, and in another series, Armed Objects, he used concrete as a base in which to fix the object, somewhat in the way he had previously used transparent plastic. He broadened his imagery to include tools while remaining faithful above all to objects symbolizing the excesses of the consumer society. Arman was also an avid collector of objects, artefacts and works of art, including watches, radios, cars, European pistols, African carved sculpture (especially Kota guardian figures) and Japanese armour. The conclusion that Arman is promoting is that once a viewer is emotionally detached from the circumstances associated with a broken violin, one-can grow to appreciate its abstract beauty. In a sense, Arman is literally teaching that things a person never thought could be regarded as attractive can indeed turn out to be very aesthetic. Because of this achievement, Arman has come to full worldwide recognition. Each year for the past eight years Arman has tigured among the top 15 artists in the list of "Top 100" artists of world-renown. Some of his original works of art are selling at high dollars. His prints and posters have been used to promote international music festivals, i.e., Luxumberg-1978. Arman has had over 30 one-man shows in museums all over the world, many TV interviews, and innumerable articles about his work. Together with Klein, Tinguely, Raysse and César, Arman is one of the most important artists of the Nouveau Réalisme. Since the 1950s he has been honoured with numerous international exhibitions and has presented works twice at the documenta 3 and 6 in Kassel. Awards Officier de la Légion d'Honneur, Grand Prix Marzotto, Commandeur des Arts et Lettres, Officier de l'Ordre National du Merite, Member of the Academia Brera. Selected Museum Exhibitions 2000 Arman - 20 stations de l'objet, Couvent des Cordeliers, Paris, France. Arman, Fundaciò "la Caixa," Barcelona, Spain. Arman, la traversée des objets, Palazzo delle Zitelle, Venice, Italy. Arman, Museo de Monterrey, Mexico. Arman, National Museum of History, Taipei, China. 2000-01 Arman: Werke auf Papier, Ludwig Museum, Coblenz, Germany. 2001-02 Arman: Through and Across Objects, Boca Raton Museum of Art, Florida. 2002 Arman: Works on Paper, Villa Haiss Museum, Zell, Germany 2003 2003 Arman: Arman, Museum of Contemporary Art of Teheran, Teheran, Iran Marlborough New York, New York City 2004 Omaggio ad Arman Arte Silva, Sergno Arman - Peinture Marlborough Monaco, Monaco 2005 Hommage a Arman, Galerie Anne Lettree, Paris 2006 Arman - Subida al Cielo, Musee d' Art Moderne et d'Art Contemporain Nice, Nice Arman - A Tribute to Arman, Marlborough New York, New York City Arman - No Comment, Galerie Georges-Phillippe & Nathalie Vallois, Paris 2008 Arman, Palazzo Bricherasio, Turin * ADDITIONAL ONE-MAN SHOWS IN MUSEUMS o Expo '67, Montreal * 1969 o Musee des Arts Decoratits, Fans Louisiana Museum, Denmark * 1972 o La Jolla Museum, California * 1976 o Tel Aviv Museum, Israel * SELECTED ONE-MAN GALLERY SHOWS o Galerie Haut Pave, Paris * 1958 o Galerie Iris Clert, Paris * 1959 o GalleriaApollinaire, Milan * 1960 o GalerieSaint-Germain, Paris * 1961 o Cordier Warren Gallery, New York o Schwarz Galleria d'Arte, Milan * 1962 o Galeri'e Autourd'hui, Brussels o Dwan Gallery, Los Angeles o Galerie Lawrence, Paris o Galerie Saqqarah, Gstaad, Switzerland * 1963 o Galerie "Ad Libitum," Antwerp o Galerie Altred Schmela, Dusseldorf o Schwarz Galleria D'Arte, Milan o Sidney Janis Gallery, New York o Galerie Lawrence. Paris * 1964 o Sidney Janis Gallery. New York * 1965 o Galerie Bonnier, Lausanne o Galerie Lawrence, Paris o Galeria del Leone, Venice * 1966 o Galerie Bonnier, Lausanne o Svensk Franska Konstgaileriet, Stockholm * 1967 o Galerie Francoise Mayer, Brussels o Galleria La Benesca, Genoa o Galerie des Ponchettes, Nice o Galerie Ileana Sonnabend, Pans o Galleria La Bussola, Turin o Galleria Sperone, Turin o Pallazzo Grassi, Venice

Creator:
Arman (1928 - 2005, French)
Creation Year:
1989
Dimensions:
Height: 19.5 in (49.53 cm)Width: 4.35 in (11.05 cm)Depth: 3.75 in (9.53 cm)
Medium:
Bronze
Movement & Style:
Surrealist
Period:
Late 20th Century
Condition:
Gallery Location:
San Francisco, CA
Reference Number:
Seller: ar/fra/ven/011stDibs: LU66637358512

Shop All Arman

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.