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Email to FriendSigné Arman, Acrylique sure toile, Empreintes de violon (Violin Impressions)  |
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| Artiste: | Arman (1928 - 2005) |
|---|---|
| Titre: | Empreintes de violon (Violin Impressions) |
| Moyen: | Acrylique sure toile |
| Taille d'image: | 30 in x 22 in (76.2 cm x 55.9 cm) |
| Taille encadrée: | 35 1/4 in x 27 3/8 in (89.5 cm x 69.5 cm) |
| Signé: | Hand signed by Fernandez Arman (Nice, 1928 – New York, 2005) in brown ink in the lower right |
| Condition: | This work is in pristine condition. |
| Prix: Article# 2378 | Vendu. Please visit the rest of our Arman fine art collection |
| Description historique: | |
|---|---|
This original acrylic on canvas is hand signed by Fernandez Arman (Nice, 1928 – New York, 2005) in brown ink in the lower right. Executed in a bright red and navy blue, Arman (Nice, 1928 – New York, 2005) depicts the lyricism and volatility
of the violin capturing an intense sense of kinetic energy. Drawing upon the
oratory and visual senses, this work entrances the viewer with its multitude
of layers. Capturing the energy and movement needed to play the violin, Arman
displays the instrument from varied perspectives which turn and oscillate against
the picture plain. The artist pays special attention the means in which this
piece has been created, integrated the silhouettes of the paintbrush in dark
blue serving in heightened contrast to the musical undertones of the piece.
Frankrike represents Armans long held fascination with the violin, the artist
adeptly captures both the solidity of the instrument and the emotional range
of the music which it produces. About The Framing: |
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La biographie de Arman
Arman (1928 - 2005)
Armand Fernandez. French born sculptor who settled in New York in 1963 and became an American citizen in 1972. He was born in Nice and studied briefly in Paris at the Ecole des Arts Decoratifs and the Ecole du Louvre. In 1957, with his friend Yves Klein, he decided to be known by his first name only, and the form 'Arman' was adopted in 1958 as the result of a printer's error on the cover of a catalogue. Like Klein, he was interested in Japanese culture, particularly Zen Buddhism, and (again like Klein) he worked for a time as a judo instructor. In the early 1960s Arman gained a reputation as one of the leading exponents of Nouveau Réalisme and he is best known for his assemblages of junk material. These range from modest collections of household debris (Accumulation of Sliced Teapots, Walker Art Center, Minneapolis, 1964) to a huge tower (about 20 meters high) of 60 automobiles embedded in cement (Long-Term Parking, Cartier Museum, jouy-en-josas, 1982).
Chilvers, Ian, Oxford Dictionary of 20th Century Art, Oxford, New York, Oxford University Press, 1998.
