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ArmanGrande Baroquial (Acropolis)1983
1983
$15,046.38
£11,181.91
€12,800
CA$20,662.44
A$23,259.21
CHF 12,306.81
MX$288,501.88
NOK 152,041.33
SEK 145,414.09
DKK 97,404.25
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About the Item
Grande Baroquial (Acropolis)
by Armand FERNANDEZ known as ARMAN (1928-2005)
Accumulation of cuts of miniature cellos, welded bronze, patinated gold,
signed "Arman"
numbered "71/100"
with the cast foundry stamp "Bocquel"
France
1983
height : 23,5 cm
diameter : 10 cm
Copy edited (100 copies) by Marianne and Pierre Nahon, Beaubourg Gallery, Paris, France
Bibliography :
Exemplaire similaire décrit et reproduit in "Arman – Multiples", catalogue raisonné, Denyse Durand-Ruel et Marc Moreau, Fondation A.R.M.A.N, 2006, pages 146-147, n°88.
Biography :
Armand Fernandez known as Arman (1928-2005) was a French artist, painter, sculptor and visual artist, known in particular for his "accumulations". Arman was one of the first to use directly, as pictorial material, manufactured objects, which represented for him the natural and multiple extensions of the human hand which undergo a continuous cycle of production, consumption, destruction.
The young Armand showed an early aptitude for drawing and painting. After his baccalaureate, he studied at the School of Decorative Arts in Nice and then at the Ecole du Louvre. He met Yves Klein and Claude Pascal at the judo school they attended in Nice in 1947. With these two friends, Arman became interested for a time in Eastern philosophies and Rosicrucian theory. At the end of 1957, Armand, who signed his works with his first name in homage to Van Gogh, decided to abandon the "d" for Armand and formalized his artist signature Arman, in 1958, on the occasion of an exhibition at Iris Clert.
In October 1960, Arman exhibited “Le Plein” where he filled Iris Clert's gallery with discarded objects and the contents of selected trash cans. This exhibition was the counterpoint to the exhibition “Le Vide” organized two years earlier at the same gallery by his friend Yves Klein. Also the same month, under the leadership of art critic Pierre Restany, Arman became, with Yves Klein, one of the founding members of the "New Realists" group alongside François Dufrêne, Raymond Hains, Martial Raysse, Daniel Spoerri, Jean Tinguely and Jacques Villeglé, later joined by César, Mimmo Rotella, Niki de Saint Phalle, Gerard Deschamps and, in 1963, Christo.
From 1961, Arman developed his career in New York, where he lived and worked half his time, alternating with his life in Nice until 1967, then in Vence until his death.
- Creator:Arman (1928 - 2005, French)
- Creation Year:1983
- Dimensions:Height: 9.26 in (23.5 cm)Diameter: 3.94 in (10 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:PARIS, FR
- Reference Number:Seller: N.77561stDibs: LU2514215692622
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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