3 000,00 € tax incl.
|Artist||ARMAN Pierre Fernandez|
|Material||Hand made Paper Moulin de Larroque|
|Size||40,15" x 27,16" Inchees|
"Violon et pinceaux"
Original carborundum etching signed and numbered by the artist.
125 copies draw.
Manual intervention with hightlights of painting and collage genuine wooden brushes. Each piece is different.
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BURN THE DIFFERENT TECHNIQUES
The intaglio .1.
Born probably the work of the goldsmith in Africa to adorn the silver dishes, carved decor in the material is coated with a black solution to make it more visible. What will become the printed etching seizes the line of recessed pattern unlike the Savings size where the drawing appears in relief (woodcut).
The process involves incising on a rigid support (copper, steel, zinc ...) drawing a line whose engraved and inked printing leaves its imprint on paper. Wiped with a gauze (tarlatan), the palm of the hand, one possible indicator for the quality of the ink, will end the operation. The paper previously moistened and brushed to bristle fiber, sucks in every detail the ink of the engraving in the press effect.
The chisel has a cut point of steel, very sharp diamond that allows pure incision on the previously polished copper. The serious artist copper more or less deeply as he wants a line more or less black. Safe and measured gesture hollow plate and makes an instantly recognizable trait net on burning.
Drypoint is a copper engraving technique performed with a steel pen (or steel tip) or a diamond sparkle.
Entering the board, the tip emerges barbs that hold the ink and gives precise contour lines less than the chisel.
It is this very special effect with very deep blacks who is wanted by the drypoint recorders.
Mezzotint, also said mezzotint, based on the principle of from black to reach the light.
To do this, the entire plate is cut with a "cradle" (goes to sleep) which gives a regular pattern and capable of retaining ink.
The drawing appears more or less clear, crushing the barbs of the frame with a "scraper" or "burnishing".
Artists often use different techniques to joint the same engraving.
The intaglio .2.
Indirect processes or hot processes are treated with acids and concern etching and aquatint.
Dürer discovered the principle of etching probably after seeing the burners breastplates that use acid to burn faster metal.
The plate is soaked in an acid attack which places not covered with varnish or resin (hence the drawing). Bites or pigmentation obtained on the plate is inked and wiped with tarlatan and the palm of the hand. The preparation of the paper, ink and printing follow the same principles as those applied to direct processes and must be repeated for each print. The artist often uses several plates for the same print.
The etcher draws to tip on a polished metal plate and pickled previously coated with a varnish. The plate is immersed in an acid that bites only the exposed parts (the drawing), the varnish protecting the rest. The line will be more corroded than copper or other metal remains immersed in more or less in the acid bath.
This process allows to give the engraving material comparable effects to the wash. Used on the surface of work, it consists in spreading a resin powder on the plate is heated to cure the resin that sticks to the support.
Dipped in the acid bath, the thus prepared plate is bitten in the uncovered parts by resin grains.
The result is a pigment which provides after printing, often colored shades (shimmer ...).
Artists often use different techniques to joint the same engraving.
Arman was born in Nice November 17, 1928 Antoine Fernandez, French of Spanish origin, and Martha Jacquet, Arman will be recognized by his father at the age of five.
He graduated and decided in 1946 to enroll in the School of Decorative Arts in Nice, he left in 1949.
His father enrolled at the Ecole du Louvre in Paris. Between 1949 and late 1950, he obtained two certificates of Art History, specializing in the study of China Haute Epoque.
Having met Yves Klein in judo from Nice to police academy in 1947, Arman joined him in Madrid in 1950. With the poet Claude Pascal, they establish a friendship around the Zen Buddhism, astrology, martial arts and art. He did his military service as a nurse during the war in Indochina, and wife Eliane Radigue, he has three children.
The art scene of the 50s in France is dominated by abstraction, and the first works of Arman register at the time in this movement. At the same time, he worked in his father's furniture store, rue Paul Deroulede Nice.
Discovering in 1954 the works of Kurt Schwitters and Jackson Pollock, Arman executes its first stamps, rubber stamp impressions.
He made his first solo presentation at the Galerie du Haut Pavé in Paris in 1956. Then come the air of objects that exposes at Iris Clert in 1958, traces of inked objects and projected on a hard surface. By performing one of these paces, he breaks the object and creates anger objects. Following a misprint Arman decided to eliminate the "d" from its name. It will end the fingerprint work by sealing rubber stamps in a box, which marks the beginning of his accumulations (1959), which will later be named Waste accumulations of trash.
In 1960, responding to items from Yves Klein, he filled the gallery of Iris Clert to expose the Plein.
"I affirm that the expression of trash, objects, has its value in itself, directly, without desire for aesthetic arrangement obliterating them and making them like the colors of a palette; Furthermore, I introduce the direction of the overall gesture without remission or remorse "(Zero, Volume 3, Dynamo, 1961).
The principle of accumulation is applied to the most diverse objects: tablets tubes gas masks, crucifixes dollar bills.
The signing of the Manifesto of New Realism October 27, 1960 at Yves Klein formalizes the participation of Arman to this movement initiated by the critic Pierre Restany.
In the following years, Arman systematized anger, and conducts cutting objects (1961) and combustions (1964). These acts of destruction and accumulation find their extension in the exploration of various materials such as concrete, synthetic resin and bronze.
Since 1963, Arman lives between New York and Vence, and enjoys since 1972 of dual nationality, French and American.
Thus, in New York in 1964, he organized a big happening with the complicity of many artists: the Lottery Locker of the Artist's Key Club, a key selling instructions from the central station, in which are placed insignificant objects or small works. In the same vein, twenty-one years later, Arman rise in the course of the Gare St Lazare, Paris, two columns of All Time, accumulation of clocks, and office life, accumulation of suitcases brought by Travellers.
The closing of the New Realism festival takes place in Milan in late November 1970. Arman y distributes bags of waste labeled "garbage Arman". The same year, a performance entitled Slicing or America halved in favor of the Defense Fund of the Black Panthers, demonstrating its commitment against racial discrimination.
In 1975 the John Gibson Gallery in New York, held the performance Conscious vandalism during which Arman completely destroyed a bourgeois interior.
The furniture will be a pretext for a new dramatic work of destruction, charred and covered with bronze in The Day after (1984).
In the late 90s, it modifies the principle of the section on mathematical logic, performing fragmentation, the object being divided into two, four, eight, sixteen ... parts.
And Arman participated in numerous exhibitions both personal and collective, and among the most recent, there are Arman at the National Gallery Jeu de Paume in Paris in 1998, and Acting out the MAMAC in Nice in 2001.
Arman died in New York on 22 October 2005.
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