Arman's Artistic Journey

Arman, born Armand Pierre Fernandez on November 17, 1928 in Nice, France, is the son of Antonio, a furniture and antiques dealer. His father’s store introduced him to art objects from an early age. At the age of ten, he began painting and at 19, he met Yves Klein, who became a close friend and had a major influence on his career. He chose to sign his works of art with his first name only, then in 1958, following a printing error, he removed the final letter.

1. A glimpse into the artist’s life

After studying at the École des Arts Décoratifs in Nice and the École du Louvre in Paris, Arman left to teach judo in Madrid in 1951. However, he soon returned to France to devote himself entirely to art. From 1959 to 1962, he developed his distinctive style, introducing his famous concepts of “Poubelles” and “Accumulations”. In the “Poubelles” series, in which he exhibited household waste and detritus. In 1962, he created his first “Accumulations”, collections of identical objects arranged in polyester or Plexiglas. These works erase the singularity of the objects, illustrating the profusion and perishability of products in a consumerism society.

In 1961, Arman held his first exhibition in New York. He explored innovative materials such as polyester and Plexiglas and joined the New Realists movement. Dividing his time between the United States and Europe, he multiplied his exhibitions and created monumental works. Today, his works can be found in the world’s greatest collections and museums. He combines his talents as a painter, illustrator, sculptor, visual artist and performer.

Arman’s influences

Arman’s family environment, with a father who was a secondhand dealer and art lover, was essential to his artistic training. From an early age, he was introduced to art and music, profoundly influencing his future career. Arman’s encounter with Yves Klein, an innovative artist, was also decisive.
Influenced by artists such as Serge Poliakoff and Nicolas de Staël, Arman developed an interest in surrealism and manufactured objects. He saw these objects as being extensions of the human touch. This fascination with objects and their accumulation became a major feature of his work. His work is also marked by the influence of the Dada movement and, later, will have an impact on the Pop Art movement.

New Realism

Arman was one of the founders of the “New Realists” movement, created in 1960 with artists such as Yves Klein, César and Jean Tinguely. New realism proposed an innovative approach to reality, often through the use of recycled and discarded objects.
Through his series of accumulations, Arman questioned the status of the object in art and in consumer society. By assembling ordinary objects, he alters their perception and highlights their ephemeral, perishable nature. In doing so, he criticizes over-consumption and mass culture.

In 1961, at the 1st Festival of New Realism in Nice, Arman created his first public “Colère” by smashing furniture. In September, in Paris, he repeated this type of spectacular performance with Jean Tinguely and Niki de Saint Phalle, in front of the NBC television cameras.

Arman’s Violin Affinity

In 1974, Arman presented his “Concrete Lyrics” exhibition at the Andrew Crispo Gallery in New York. This series featured musical instruments dismantled and embedded in concrete, revealing a new artistic dimension. In 1983, he presented “Arman’s Orchestra” at the Marisa del Re Gallery, also in New York. The exhibition featured bronze stringed instruments, offering a unique vision of musical art.

Arman’s particular interest in violins is part of his approach to destruction and creation. Violins, symbols of classical music and emotion, become the objects of his famous “Colères” and “Accumulations”. By shattering and reassembling these instruments, Arman criticizes the sacralization of objects while offering them a new aesthetic form. The violin, with its complex structure, enabled him to explore materiality and transform precious objects into striking works of art. The violins he dissects and integrates into his sculptures are a tribute to music, while at the same time highlighting the fragility and obsolescence of objects in our society.

Arman’s Legacy: Defying boundaries, inspiring generations

Arman’s quotation, “I would like to stop the speed, the explosion, the shattering, patches of time, precious accidents where chance is always the same and repeated again…”, perfectly sums up his artistic commitment. Over the course of his career, Arman has held more than 500 solo exhibitions, including 77 in museums, testifying to his enduring influence on the contemporary art world. Arman defied conventions and explored new forms of artistic expression, leaving behind a rich and inspiring legacy. Find out more by exploring Artsper’s large collection of Arman’s artworks across different mediums!