Fernandez Arman Art for Sale: Prints & Originals

Born Armand Pierre Fernandez in Nice, France, in 1928, Arman demonstrated an early affinity for art, inspired by his father's passion for antiques and his own keen observational skills. His formal education in art began at the École Nationale des Arts Décoratifs in Nice, followed by studies at the École du Louvre in Paris, where the seeds of his artistic vision took root.

Arman's artistic development is marked by his fascination with the object. In the 1950s, he began to challenge traditional notions of sculpture by incorporating found objects and waste materials into his work. This period saw his departure from painting and a move towards the assemblage for which he would become renowned. His signature accumulations and destructions of mass-produced items underscored the era's consumer culture and sought to redefine the role of the artist.

One of Arman's most notable periods emerged in the late 1950s and early 1960s when he co-founded the Nouveau Réalisme movement alongside art critic Pierre Restany and fellow artists Yves Klein and Jean Tinguely. Nouveau Réalisme was characterised by a fresh perspective on reality through direct appropriation and the use of everyday materials. Arman's contributions to this movement were significant, with his Cachets and Allures series underlining the dichotomy between creation and destruction, a theme that would pervade his entire career.

Collaborations and influences played a considerable role in Arman's journey. His friendship with Yves Klein notably influenced his exploration and use of monochrome, while his dialogue with American Pop Art is evident in his elevation of consumer goods to the status of high art. His work crossed continents, and his time in New York led to critical engagement with American culture and consumerism.

Arman's major exhibitions and achievements are vast. His works have been displayed in prestigious institutions such as the Centre Georges Pompidou in Paris, the Museum of Modern Art in New York, and the Tate Gallery in London.

Arman's legacy endures in the continued relevance of his commentary on materialism and consumption. His innovative use of accumulation as a form of artistic expression has inspired subsequent generations of artists, ensuring his lasting impact on the trajectory of contemporary art. His work remains a profound statement on the human condition, reflecting society's obsession with the object and the impermanence of material life.

Arman, born Armand Pierre Fernandez, became celebrated for his innovative and thought-provoking variety of Accumulations series, where he amassed identical objects to create visually striking compositions. He began these works in the early 1960s, transcending the traditional confines of painting and sculpture by presenting common items such as tools, musical instruments, and cutlery in large quantities. These accumulations questioned the role of objects in consumer society and the concept of artistic uniqueness, challenging viewers to see beauty and meaning in the mass-produced.
Arman was a founding member of the Nouveau Réalisme movement, which emerged in France during the early 1960s as a European counterpart to American Pop Art. Alongside artists like Yves Klein and Jean Tinguely, Arman signed the Nouveau Réalisme manifesto drafted by art critic Pierre Restany in 1960. The movement sought to bridge the gap between art and life, focusing on the appropriation and recontextualisation of everyday items to subvert their original functions and critique materialist culture.
Arman's work often involved the destruction and transformation of objects, a process he referred to as “Coupes” and “Colères” (Cuts and Rages). He would slice, burn, or smash items like violins, clocks, or even automobiles, then meticulously reassemble the fragments into new, unexpected forms. These acts of destruction were not merely violent but were carefully considered gestures that gave birth to new forms and meanings. By doing so, Arman dissected the ephemeral nature of material possessions, while simultaneously immortalising them as art.