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ArmanSculpture "Bon Sante" by Fernandez Arman, 19961996
1996
About the Item
Born in Nice in 1928, Armand Pierre Fernandez (1928 - 2005) 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.)
Arman is best known for his unique style of found-object sculpture. Inspired by the philosophies and aesthetics of Dadaism, the artist gathered forks, instruments, and teapots which he staged within vitrines.
“I specialize very much in… everything,” - Arman told an interviewer in 1968.
Today he is regarded as one of the most prolific and inventive creators of the late 20th century. His work had a strong influence on Pop Art.
A close friend of Andy Warhol, Arman was spending a lot of time in New York and moved there in 1960d. He adopted destruction as a strategy for creating something new—slicing, burning, and smashing objects such as bronze statues and musical instruments to mount on canvas.
Arman’s work is in the collections of such institutions as the Metropolitan Museum of Art in New York, Fine Arts Museums of San Francisco, California, The Detroit Institute of Arts, Everson Museum of Art, Bellevue Art Museum in Washington, Boca Raton Museum of Art, the Tate Gallery in London and the Centre Pompidou in Paris.
- Creator:Arman (1928 - 2005, French)
- Creation Year:1996
- Dimensions:Height: 16.93 in (43 cm)Width: 11.42 in (29 cm)Depth: 3.55 in (9 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Palm Beach, FL
- Reference Number:1stDibs: LU636310149582
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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