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ArmanWell dressed 2 - Arman, bronze, sculpture, decorative, green, female, figure2005
2005
About the Item
Pierre Arman (1928-2005)
Well dressed 2
2005
bronze with green patina and coat hooks
162 x 52 x 37 cm
signed on base (beside right foot)
numbered 19/30
Price:
£35,000 GBP
Provenance:
Noé Willer, Art Conseil, Paris, France
Literature:
Luca Beatrice, Arman, 2007, p. 31, another cast illustrated
Notes:
Armand Pierre Fernandez (commonly known as Arman) was born in 1928 in Nice to Antonio Francisco and Marie Marguerite Fernandez. He began painting as a young boy under the instruction of his father.
After receiving his bachelor's degree in philosophy and mathematics in 1946, Arman studied painting at the Ecole Nationale d'Art Decoratif in Nice. There he met artists Yves Klein and Claude Pascal with whom he became great friends. During his early years as an artist, Arman chose to sign his work using only his first name, in the style of Vincent Van Gogh.
In 1949, Arman moved to Paris to study at the École du Louvre. Early in the development of his career, it was apparent that his interest in the accumulation of vast quantities of the same objects; paint tubes, ball bearings, car parts, musical instruments, paint brushes, stamped patterns, was to be a significant component of his future artistic work. The power of these pieces was made evident during the Post-War age of consumerism and mass-production in which he lived. These accumulation works held the glass to a society which had readily accepted an inundation of ready-made, identical, machine built consumer goods.
After seeing an exhibition of work by Kurt Schwitters, Arman began creating his first Cachets. These were to feature in his solo exhibition in Paris in 1956. The commonly used abbreviation of his name from "Armand" to "Arman," came about shortly afterwards as a result of a typing error made in a catalogue which omitted the "d" from his name. Although initially outraged by the error, he soon decided he preferred to be known as Arman.
It was around this time that Arman's work began its most serious evolution, beginning with his two most renowned concepts: Accumulation and Poubelle. These consisted of accumulations of identical every day objects in glass cases, and their counterparts the poubelle, which were collections of refuse. With a new name and a revolutionary style, he began to garner the attention of the European art community.
In 1961, Arman made his debut in the United States and took up residency in the city. In 1973 he became an American citizen. Whilst in New York he began to work on ever increasingly ambitious projects, including accumulations of tools, watches, clocks, furniture, automobile parts, jewelry, and, of course, musical instruments in various stages of dismemberment. It was during these active years of the mid 1960s that he made his first accumulations of paint tubes embedded in polyester which have become some of his most popular and sought after pieces of work.
Over the following years up until his death in 2005, Arman continued as an artist of diversity both producing paintings and sculpture whilst also teaching and illustrating children's books. He died in the USA in 2005 and is survived by his second wife Corice Canton.
Categories:
Well dressed 2, Arman, pierre arman, bronze, sculpture, decorative, green, female, figure, female figure, coat, coat hook, lifesize, big, french, modern, modern art, objects, american, avant-garde, modern art, post-war, large, woman, design
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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