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ArmanBicycle drawing1991
1991
$2,000
£1,519.05
€1,747.18
CA$2,794.39
A$3,116.06
CHF 1,625.83
MX$38,235.27
NOK 20,694.21
SEK 19,607.32
DKK 13,039.88
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About the Item
Arman
Bicycle Drawing, 1991
Original bicycle drawing done on fold-out invitation "Archeology of the Future"
Arman's signature within the drawing in black marker
5 4/5 × 9 1/4 inches
Unframed
This original drawing, with signature cleverly embedded, was done on the elegant fold out invitation from Marisa Del Re Gallery to the opening reception of Arman's Exhibition "Archeology of the Future." It is also accompanied by a separate invitation, on translucent paper with the same motorcycle image, to Arman's first comprehensive exhibition at the Museum of Fine Arts in Houston, traveling to the Brooklyn Museum and the Detroit Institute of Art. This work is from the Estate and private autograph collection of Cordelia Platt. Highly regarded in the autograph industry, Cordelia was the president of the UACC (United Autograph Collectors Club) and a well known dealer for many years. She was official authenticator of Marilyn Monroe. This piece was in Ms. Platt's private collection - amassed during the 1970s through 1990s - for 20 years before it was sold.
Provenance:
This work is from the Estate and private autograph collection of Cordelia Platt former UACC president.
More about Arman
I specialize very much in… everything,” the French-born American artist Arman told an interviewer in 1968. “I have never been — how do you say it? A dilettante.” Regarded as 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 sculpture 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.
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. His work in these early years focused on abstract paintings inspired by the work of Nicolas de Staël. 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.
- Creator:Arman (1928 - 2005, French)
- Creation Year:1991
- Dimensions:Height: 5.8 in (14.74 cm)Width: 9.25 in (23.5 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:New York, NY
- Reference Number:1stDibs: LU1745212848392
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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