Signed, dated and numbered to lower edge; Artist's stamp to verso.
Printed by Studio Heinrici, New York and published by Jackie Fine Arts, New York.
Recorded in the Arman Studio Archives New York under number: APA# 1002.78.003.
Grey Mood Variation (1977) by Arman is a vibrant screenprint that captures the expressive energy of musical instruments—specifically violins—rendered in abstract, gestural forms. Bold sweeps of orange, deep blue, brown, and olive green contrast against a grey background, evoking movement and rhythm. Measuring 76 × 55?cm, the work is signed, dated, and numbered in an edition of 150, printed by Studio Heinrici and published by Jackie Fine Arts in New York. Arman's technique of repetition and accumulation is evident here, transforming familiar objects into dynamic visual patterns. Part of the Nouveau Réalisme movement, this piece exemplifies Arman’s fascination with deconstructing and recontextualizing everyday forms, particularly musical instruments.
Arman (Fernandez) (France/USA, 1928–2005) was a leading figure in Nouveau Réalisme, known for his assemblages of everyday objects. His works, such as Accumulations and Poubelles, transformed discarded items into powerful art, challenging consumerism and material culture. Arman’s innovative approach redefined sculpture and established him as a pioneer in contemporary art.
Screen-print Screen printing is a technique where ink is transferred through a mesh onto a substrate, with areas blocked by a stencil to prevent ink from passing through. This method, also known as serigraphy or silkscreen printing, is commonly used to produce prints on posters, T-shirts, vinyl, stickers, wood, and other materials. The process is a type of stencil printing, allowing for vibrant, detailed designs on various surfaces.
Signed, dated and numbered to lower edge; Artist's stamp to verso.
Printed by Studio Heinrici, New York and published by Jackie Fine Arts, New York.
Recorded in the Arman Studio Archives New York under number: APA# 1002.78.003.
Grey Mood Variation (1977) by Arman is a vibrant screenprint that captures the expressive energy of musical instruments—specifically violins—rendered in abstract, gestural forms. Bold sweeps of orange, deep blue, brown, and olive green contrast against a grey background, evoking movement and rhythm. Measuring 76 × 55?cm, the work is signed, dated, and numbered in an edition of 150, printed by Studio Heinrici and published by Jackie Fine Arts in New York. Arman's technique of repetition and accumulation is evident here, transforming familiar objects into dynamic visual patterns. Part of the Nouveau Réalisme movement, this piece exemplifies Arman’s fascination with deconstructing and recontextualizing everyday forms, particularly musical instruments.
Arman (Fernandez) (France/USA, 1928–2005) was a leading figure in Nouveau Réalisme, known for his assemblages of everyday objects. His works, such as Accumulations and Poubelles, transformed discarded items into powerful art, challenging consumerism and material culture. Arman’s innovative approach redefined sculpture and established him as a pioneer in contemporary art.
Design is more of a kitchen than a knife, and more of a lab than a beaker.
- Fernandez Arman
In his career as an artist, Armand Fernandez has become internationally known as Arman. He decided to sign his artworks with just his first name and then removed the final letter after a 1958 printing error. His work was always influenced by the Dada movement and he was later to make an impact on the Pop Art movement. Fernandez / Arman studied art history at the Louvre in Paris and attended the National School of Decorative Arts in Nice. He began by creating abstract paintings and also made use of found objects, fabric pieces and postage stamps. These assemblages were displayed together in 1954 at his first solo show in Paris. In 1960 he signed up to the New Realism manifesto and began to focus on more ways to turn commonplace discarded objects into art. His exhibition at the Iris Clert Gallery in 1960 was an installation called Full Up, which filled all the gallery space with trash. Another technique involved breaking up manufactured objects to mount on wood panels after reassembling. He also displayed familiar objects that had been sliced up and he exhibited the burnt remains of items that he had set on fire. His strategy of piling a number of found objects on top of each other led to art commissions from the Renault car company. In 1970 he displayed a number of works made from car parts at the World Fair in Osaka. In 1982 he created Long Term Parking, a monumental public sculpture 50 feet high, made from cars encased in a column of concrete. He received a commission in 1995 from the Lebanese leader to create a peace monument for Beirut. Hope for Peace, which stands outside the headquarters of the Lebanese Army, is made from armored tanks and military vehicles with gun barrels pointing upwards. (Artist website)
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What is dada?
Also known as Dadaism, Dada was a literary and artistic movement that began in 1916 in Zurich, Switzerland. It emerged as a rejection of rationalism and nationalism, which were seen as contributing factors to World War I. The movement had political undertones and was strongly anti-war. Dada activities included demonstrations, gatherings, and the publication of literary and art journals that explored cultural and political topics.