An account of the human being through everyday objects. This is the mission of the nouveau réalisme of the works of Armand Pierre Fernandez, also known as Arman.
  • Violins: Arman's violins are gold-plated bronze sculptures. They are in limited edition, signed and numbered in original by the artist.
  • Accumulations: Arman's Accumulations are limited edition sculptures made with a glass support in which Arman accumulates everyday objects. All sculptures are signed and numbered in original.

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Fernandez Arman : Artist

Arman Artist

Armand Pierre Fernandez was born in Nice in 1928.

He is known as Arman, the name he has been using to sign his artworks since 1958.

One of the most prolific artists in the second half of the 20th century, Arman has produced the most different kind of artworks, ranging from paintings to prints, from sculptures in bronze to his famous “accumulations”.

Art has always been a fundamental aspect of his life, mostly thanks to the influence of his father, a dealer of antiquities who loved every form of art (especially music). This ongoing passion within his family led Arman to the decision of signing up at the École Nationale des Arts Décoratifs in Nice and then at the École du Louvre in Paris.

After a beginning that can be defined "traditionalist" in the world of painting, he stared to dedicate himself to the creation of the famous ”Cachets” and “Allures”:

The firsts are a series of works on paper made with the use of the stamp, while “Allures” are made thanks to a similar technique where, instead of the stamp, he used fingerprints, traces of colour left by brushes and various objects.

The link that connect all his works are the objects, absolute protagonists of his art. In his first works, they serve as the medium, which leave a mark on the support.

Around the first half of the 60’s, Arman style started to evolve as he became an exponent of the Nouveau Réalisme. From this moment on the object is no longer a medium, but becomes the artwork itself, as well as in the Dada period, even though a conceptual gap can be noticed: the objects are not just displayed as irreverent symbols of artistic tradition; they are subjected to an invasive and destructive action, symbolizing the same destruction that society leads against the values and visions of the contemporary human being.