Artwork by Fernandez Arman,  Untitled
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Cowley Abbott
326 Dundas St West
Toronto ON M5T 1G5
Ph. 1(416)479-9703

Arman
Untitled

burnt violin in polyester resin
This unique and original work is recorded in the Arman Studio Archives, New York under number: APA# 8208.79.177; sold together with a resin stand
24 x 12 x 3.25 ins ( 61 x 30.5 x 8.3 cms ) ( overall (excluding base) )

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Provenance:
A Private Canadian Collection
Arman was the son of an antique dealer as well as amateur artist, photographer, and cellist. Through his father, Arman was exposed early on to fine art and a variety of musical instruments. String instruments are one of the most frequently recurring subjects in the artist’s body of work.

Beginning in the 1960s, Arman produced assembled sculptural works from destroyed objects. The “Coupes” and the “Colères” featured sliced, burned, or smashed objects arranged on canvas, often using antique objects, such as musical instruments or bronze statues. Here, the violin has been burned, each remnant displayed floating in resin. The viewer is experiencing a new version of a familiar object; it is in a state that is rarely seen. Arman’s artwork makes us wonder what so many of our possessions might look like if they had been set on fire. Interestingly, the artist has answered some of these questions for us by creating a series of burned household items such as furniture, clocks and picture frames.

There tends to be a negative association with burned objects, as they elicit feelings of loss and tragedy. Yet Arman is showcasing the violin from all angles and highlighting its sculptural qualities and the effects of fire that come from nature. The artist is offering a new interpretation, inviting us to view the work for its formal qualities, and ignoring any prior deductions we may have formed.
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Preview this item at:

Cowley Abbott
326 Dundas St West
Toronto ON M5T 1G5
Ph. 1(416)479-9703


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Fernandez Arman
(1928 - 2005)

Born Armand Pierre Fernandez in 1928, the Nice native enrolled at the École Nationale des Arts Décoratifs in 1946, upon completing a bachelor’s degree in philosophy and mathematics. He became friends with artists Yves Klein and Claude Pascal, whom he encountered at a judo class. His immersion within the artistic milieu inspired the young painter to begin signing with his only first name as an homage to Van Gogh, who signed his works “Vincent.” Eventually, in 1957, he officially removed the letter ‘d’ from his first name, and used the name “Arman” as his public persona.

Arman began his artistic career as an abstract painter, though he became best known for series that involved the destruction and recomposition of objects, known as "Accumulations" and “Poubelles”. When he witnessed the overwhelmingly positive response to his first Accumulations in 1959, Aman decided to dedicate the majority of his artistic output to these themes. Accumulations were collections of common and identical objects which he arranged either within polyester castings or Plexiglas cases. In 1962, Aman began making welded versions, fusing the same type of metal objects together. Poubelles were small collections of household trash displayed in Plexiglas cases, highlighting the perishable and materialistic character of society in the Western world.

In 1961, Arman moved to New York, where he would reside part-time for the remainder of his life. During the next several years, the artist explored many subsequent series that were continuations of the same theme, including “Colères”, which featured broken objects mounted on a pedestal or canvas, and “Combustions”, which consisted of items that had been burned. Regarded as one of the most prolific and inventive creators of the late 20th century, Arman’s work was inspired by Dada and the “Ready-Made”, and in turn became a strong influence on and bridge to Pop Art. His art resides in the collections of prominent institutions worldwide such as the Metropolitan Museum of Art in New York, the Tate Gallery in London and the Centre Pompidou in Paris.