Arman. (1928-2005). "Portées Musicales," 1986. Gouache on white wove paper, 1986. 304x230mm; 12x9 inches. Signed in black ink, lower right recto. This work is registered under number APA #1002.86.004 in the archive of the Studio Arman in New York. Ex-collection Monsieur Jean-Louis Martinoty, director of the Opéra in Paris from 1986-1989.
The French-born American artist moved from using objects for the ink or paint traces they leave ("cachet", "allures d'objet") to using them as the paintings themselves. He is best known for his "accumulations" and destruction/recomposition of objects, often using objects with a strong "identity" such as musical instruments (mainly violins and saxophones) or bronze statues. The present painting is both unusual in its method and at the same time highly representative of the artist's musical oeuvre, the instruments here arrayed playfully as though themselves musical notes.
The French-born American artist moved from using objects for the ink or paint traces they leave ("cachet", "allures d'objet") to using them as the paintings themselves. He is best known for his "accumulations" and destruction/recomposition of objects, often using objects with a strong "identity" such as musical instruments (mainly violins and saxophones) or bronze statues. The present painting is both unusual in its method and at the same time highly representative of the artist's musical oeuvre, the instruments here arrayed playfully as though themselves musical notes.
Arman. (1928-2005). "Portées Musicales," 1986. Gouache on white wove paper, 1986. 304x230mm; 12x9 inches. Signed in black ink, lower right recto. This work is registered under number APA #1002.86.004 in the archive of the Studio Arman in New York. Ex-collection Monsieur Jean-Louis Martinoty, director of the Opéra in Paris from 1986-1989.
The French-born American artist moved from using objects for the ink or paint traces they leave ("cachet", "allures d'objet") to using them as the paintings themselves. He is best known for his "accumulations" and destruction/recomposition of objects, often using objects with a strong "identity" such as musical instruments (mainly violins and saxophones) or bronze statues. The present painting is both unusual in its method and at the same time highly representative of the artist's musical oeuvre, the instruments here arrayed playfully as though themselves musical notes.
The French-born American artist moved from using objects for the ink or paint traces they leave ("cachet", "allures d'objet") to using them as the paintings themselves. He is best known for his "accumulations" and destruction/recomposition of objects, often using objects with a strong "identity" such as musical instruments (mainly violins and saxophones) or bronze statues. The present painting is both unusual in its method and at the same time highly representative of the artist's musical oeuvre, the instruments here arrayed playfully as though themselves musical notes.