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Fernandez ArmanArman - Violon Spiralé - Gilded Violin2001-2002
2001-2002
About the Item
Beautiful Arman's "Violon Spiralé" bronze gilded violin sculpture.
Material: Bronze.
Dimensions: 76 x 20 x 15 cm
Edition: 100
Arman is a painter who moved from using objects for the ink or paint traces they leave ("cachet," "allures d'objet") to using them as the painting itself. He is best known for his "accumulations" and destruction/recomposition of objects. In October 1960, Arman, Yves Klein, François Dufrêne, Raymond Hains, Martial Raysse, Daniel Spoerri, Jean Tinguely and Jacques Villeglé, and art critic and philosopher Pierre Restany founded the Nouveau réalisme group. Joined later by Cesar, Mimmo Rotella, Niki de Saint Phalle, and Christo, the group of young artists defined themselves as bearing in common their "new perspective approaches of reality." They were reassessing the concept of art and the artist for a 20th century consumer society by reasserting the humanistic ideals in the face of Industrial Expansion.
In 1961, Arman made his debut in the United States, the country which was to become his second home. 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.
- Creator:Fernandez Arman (1928-2005, French)
- Creation Year:2001-2002
- Dimensions:Height: 29.93 in (76 cm)Width: 7.88 in (20 cm)Depth: 5.91 in (15 cm)
- Medium:
- Period:
- Condition:
- Gallery Location:Collonge Bellerive, Geneve, CH
- Reference Number:1stDibs: LU1612472952
Fernandez Arman
Arman (civil name Armand Pierre Fernandez, 1928 - 2005) was a French-US-American object artist and co-founder of Nouveau Réalisme - a style that took up ideas from Dadaism and is therefore also called Neo-Dadaism. Real objects from everyday life are declared Ready-Mades, so that found objects and rubbish are arranged into assemblages, accumulations and collages. He became artist friends with Yves Klein and Claude Pascal and was also artistically influenced by the work of the German Dadaist Kurt Schwitters and by his encounter with the art critic Pierre Restany, who later became the theoretician of Nouveau Réalisme. After a trip to Europe in 1947, attended the École des Arts Décoratifs in Paris. From 1949 he changed to the École du Louvre
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