Treading the line between accumulation and destruction, Arman Untitled, 1997 is comprised both of violin parts as well as a collection of paint brushes. Upon first glance, the myriad of colors almost camouflages the violin and the brushes. Our first hint that this is not a strictly two-dimensional work is the handles of the brushes that stick over the top of the canvas. The closer we look, we begin to make out the violin that has been covered with bright paint streaks. The violin is cut into segments, like Arman’s destruction sculptures, yet it maintains the overall appearance of the instrument. The brushes follow trails of color, as if they painted then line and then were glued into place on the canvas halfway through. In this sense, the piece has a ‘frozen-in-time’ quality to it. It feels as if the brushes could be picked up, the painted lines continued, and eventually the brushes removed from the composition entirely. But the frozen quality is what makes the piece so exciting – it leaves the viewer in anticipation of what would come next, and retains the energy of the truncated motion.

Arman focused on musical instruments in much of his oeuvre, and in particular the violin. There is a lyrical quality to the work, and also the confusing and delightful contrast of a broken musical instrument in stasis.

Created in 1997, this oil, paint brushes and violin parts on canvas on panel is hand signed by Fernandez Arman (Nice, 1928 – New York, 2005) on the overlap.

Catalogue Raisonné & COA:

Arman Untitled, 1997 is fully documented and referenced in the below catalogue raisonnés and texts (copies will be enclosed as added documentation with the invoices that will accompany the sale of the work).

1. This work is recorded in the Arman Studio Archives, New York.

2. This work will be in included in the forthcoming Arman catalogue raisonné being prepared by Denyse Durand-Ruel, Paris.

3. A Certificate of Authenticity will accompany this artwork.