Arman ^©  

(1928 - 2005)

Iscrizione sul retro: C.704

Provenance:
Dante Vecchiato Art Gallery, Vicenza, as per stamp on the reverse

Artwork registered at the Arman Studio Archives, curated by Corice Canton Arman, New York, with the number: APA# 8110.01.182

Blindarte kindly thanks Nick Mishkovsky of the Arman Studio Archives, New York, for confirming via email the authenticity of the artwork.




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Among Arman’s most fascinating works (Nizza, 1928 - New York, 2005) there are those made with musical instruments: saxophone, violin, guitar parts, as in the works presented in the catalog. In this type of work Arman often presents broken musical instruments, then mounted on canvas and colored through the use of acrylic painting. A bond, that between the artist and music, always present in his research being a mother cellist.

Fernandez Arman was born on the Côte d'Azur, where he attended the École des Arts Décoratifs, befriending Yves Klein, who became his close friend and companion of adventures around Europe. His first works are purely figurative, but in 1959 he came across a drawer full of used bulbs. For the artist it is the beginning of a new way of doing painting. In the same period he joined the Nouveau Réalisme movement with César, Yves Klein, Martial Raysse, Jean Tinguely and Pierre Restany. Thus will begin the period of "Accumulations". In 1963, instead, the first "Combustions" appeared, as part of the fascination of the period towards the element of fire that infects many artists, first of all Bernard Aubertin. Combustions, often musical instruments, mainly violins, were replaced in the 70’s by "Cements", works in which disparate objects were drowned in concrete. From the 80’s instead began the series of "Fragmentations"Here the objects are sectioned and then applied to the canvas. (from "Arman, the Artist of the Accumulations", by Daniela Ambrosio, Architectural Digest, 7 October 2019)