Arman Armand

ARMAN ARMAND Nice, 1928 – New York 2005

Arman, an artist of American origin who gained prominence in France, is widely recognized as one of the most prolific and innovative artists of the late 20th century. His extensive body of work encompasses diverse artistic forms, ranging from drawings and prints to monumental public sculptures. The artist transforms ordinary objects into elevated works of art by removing them from their everyday context. Strongly influenced by the artistic movement of Dadaism, Arman's creations have found their place among prestigious collections in esteemed institutions such as the Metropolitan Museum of Art in New York, the Tate Gallery in London, and the Pompidou Center in Paris. Born in Nice in 1928, Armand Pierre Fernandez displayed an early aptitude for painting and drawing. Art, ingrained as a fundamental aspect of his life, was nurtured by his father, an antiquarian with a profound appreciation for arts and music. These formative influences led Arman to enroll first at the Ecole Nationale des Arts Décoratifs in Nice, and later at the esteemed Ecole du Louvre in Paris. His initial artistic endeavors revolved around abstract paintings inspired by the works of Nicolas de Staël. An avid reader, Arman sought inspiration in literature and embarked on frequent journeys throughout Europe alongside his fellow artists. While treading a path considered traditional within the realm of painting, Arman soon realized that this trajectory did not align with his artistic vision. He subsequently dedicated himself to the creation of his renowned "Cachets and Allures." Objects, serving as the unifying thread throughout his works, assumed an unequivocal prominence, acting as true pictorial mediums and integral components of the artistic compositions themselves. In the early 1960s, Arman's artistic style underwent a transformative evolution, solidifying his position as a leading figure within the Nouveau Réalisme movement. Mirroring elements seen during the Dada period, Arman's art celebrated the objects themselves as works of art. However, he detached himself conceptually from the mere desecration of artistic tradition, instead subjecting the objects to a destructive and invasive action, symbolizing the societal forces that impinge upon the values and perceptions of contemporary individuals.