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Email to FriendSigné Arman, Sculpture, Violin Coupé III - Violin Classique, 2005  |
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| Artiste: | Arman (1928 - 2005) |
|---|---|
| Titre: | Violin Coupé III - Violin Classique, 2005 |
| Moyen: | Sculpture |
| Taille d'image: | 24 1/16 in x 8 in x 6 11/16 in (61.2 cm x 20.2 cm x 17 cm |
| Signé: | Hand signed by Fernandez Arman (Nice, 128 - New York, 2005) in gold on the base. |
| Edition: | Etched into the side of the base, 'bocquel fd. 14/100' |
| Condition: | This work is in pristine condition. |
| Prix: Article# 3130 | Vendu. Please visit the rest of our Arman fine art collection |
| Description historique: | |
|---|---|
| Highlighting the physical beauty of the violin, Arman creates a nearly life-size
bronze violin sculpture. However, Arman's violin appears disjointed, sliced
vertically into six pieces.This piece conveys a sense of animation, as each
vertical slice fans out in a slightly different direction, as if the motion
utilized to play the violin is captured within the instrument itself. The glossy
patina surface of this sculpture catches the light, encouraging the viewer to
interact with this sculptural work. Created in 2005, this original bronze sculpture with brown and black patina is hand signed by Fernandez Arman (Nice, 128 - New York, 2005) in gold on the base. Etched into the side of the base, 'bocquel fd. 14/100' |
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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.
