Fernandez Arman, À coups trop tirés (assemblage of .22 caliber bullets), 1962

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Arman
Fernandez Arman, À coups trop tirés (assemblage of .22 caliber bullets), 1962
1962

About the Item

Arman (1928-2005) À coups trop tirés, 1962 Accumulation of .22 caliber bullets in a wooden box 40 x 30 x 7 cm 15 3/4 x 11 7/8 x 2 3/4 in This work is recorded in the Arman Studio Archives New York under number: APA# 8002.62.001 Provenance: Galerie Lawrence, Paris Collections: Madame Everaert, Bruxelles Collection Arman, Vence Swedish private collection Exhibitions: Societe auxiliaire des expositions du palais des beaux-arts, "Arman", February 19 - March 6, 1966 Mayor Gallery, London Literature/Press Bernard Lamarche-Vadel, "Arman", illustrated full page in colour, p. 139 Denyse Durand-Ruel's Catalog Raisonne, Vol. 2, 1991. p. 172 no. 371. “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. From 1959 to 1962, Arman developed his most recognizable style, beginning with his two most renowned concepts: "Accumulation" and "Poubelle" (French for "trash bin"). Accumulations were collections of common and identical objects which he arranged in polyester castings or within Plexiglas cases. His first welded accumulations were created in 1962.[2] The "Poubelles" were collections of strewn refuse. In 1960, he filled the Galerie Iris Clert in Paris with garbage, creating "Le Plein" ("Full Up") as a counterpoint of the exhibition called "Le Vide" at the same gallery two years earlier by his friend Yves Klein. These works began to garner the attention of the European art community. 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.

Creator:
Arman (1928 - 2005, French)
Creation Year:
1962
Dimensions:
Height: 15.75 in (40 cm)Width: 11.82 in (30 cm)Depth: 2.76 in (7 cm)
Medium:
Brass,Wood,Paint
Movement & Style:
Post-War
Period:
1960-1969
Condition:
Very good overall condition. Additional images available upon request.
Gallery Location:
Stockholm, SE
Reference Number:
1stDibs: LU93913269133

Fernandez Arman, À coups trop tirés (assemblage of .22 caliber bullets), 1962

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