Fernandez Arman
"I introduce the meaning of the global mouvement without halt or remors"
Stamp by Fernandez Arman
The publication of a postal stamp is often a homage paid by a nation to a place, an event, a remarkable cause or a character which count. The painters and other artists do not escape from this rule. Some are however "forgotten" of postal art. Here, gathered below (French or foreign), emitted stamps (206) or simple studies of stamp (224) in homage to the artists represented on our website. The first French stamp was emitted in 1849, England preceded us by ten years. There is often a share of voyage in this small form of shape paper. The stamp circulates, sails, flies away, it makes dream, then dream a little. M.C.
When the stamp is really emitted, the artist name is preceded of an asterisk (*). It is certain that we do not know each stamp emitted for such or such artist; do not hesitate with us to make known them!
Discover all the stampsHandwritten letter of the artist
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A tribute to Fernandez Arman
Le sculpteur Arman, Armand-Pierre Fernandez, est mort le samedi 22 octobre 2005 des suites d'une longue maladie à New-York (Etats-Unis), il avait 76 ans. Une partie de ses cendres ont été dispersé à New York, une partie a été placée auprès du père de l’artiste à Vence (Alpes-Maritimes). Après la Place Yves Klein et l’Esplanade Niki de Saint Phalle, Nice a souhaité rendre hommage au plasticien en donnant son nom à un espace circulaire situé au pied du Musée d’Art moderne et d’Art contemporain de la ville. En hommage à sa mémoire, une fleur d’eau.
"La fourmi, l’écureuil mettent de côté. La quantité les rassure. Moi-même tout gosse, j’étais très collectionneur." - Arman
"Je suis fidèle à mon infidélité." - Arman
"Je n’ai pas découvert le principe de l’accumulation, dit-il, c’est lui qui m’a découvert. La société entretient son besoin de sécurité par des accumulations instinctives, que l’on perçoit notamment en regardant les vitrines des magasins, les poubelles et les décharges publiques." - Arman
"Témoin de cette société, je me suis senti concerné par le cycle pseudo-biologique production-consommation-destruction. Pendant très longtemps, mon angoisse a été de constater l’envahissement progressif de notre monde par les objets au rebut." - Arman
"L’homme est le même partout. Où qu’il soit, quelle que soit la culture, quelle que soit la situation sociale ou économique, partout, de temps en temps, il y a de grands artistes qui peuvent excéder les normes traditionnelles." - Arman
"Découpant, brisant, brûlant, empilant, entassant, transformant et assemblant fourchettes, fers à repasser, vélos, masques à gaz, violons, voire, à Beyrouth, chars et canons, Arman a largement contribué à la prise de conscience de la production de masse dans la société contemporaine." - Olivier Broise
Notes of biography
Arman, pen name of Fernandez Armand, was born in Nice in 1928. He died recently in New York (October 22nd, 2005). The artist kept in mind his meeting with Yves Klein in 1946. At that time, he was a student at the Ecole des Beaux-Arts in Nice .In 1949, he studied in Paris, at the Ecole du Louvre.
At the beginning, he made a post cubist painting, representational, then abstract, but quickly broke of this art which seemed formal to him. In 1956, he invented his "stamps", inking-pads which, multiplied, form imprints on the canvas, playing with the color of ink and their arrangement. He got in touch with objects and begins to plan them, inked, on his canvas: pebbles, shells of egg, needles, etc. Following a "shell" on the coverage of a catalog of exhibition, Arman took his pen name in 1958.
Little by little, his art leaded to the object itself, and towards an accumulation of this one. There is now heap of real objects, wastes of society which we put in front of it act. The series of "dustbins" appears in 1959. The pause of this period, way of provoking people will be the exhibition "Le Plein", in 1960, in the Iris Clert’s Gallery. At the instigation of Pierre Restany, Arman signed the manifesto of the New Realism in 1960; we defined the flourish of the artistic language there of the 60s. These years became for the artist those of the Accumulations, inclusions in glass frames or in polyester. His success is immense.
He was interested, from 1961, in the decomposition of the subjects by the division and set his searches with numerous bronzes. Arman wanted to denounce the society, he proceeded to "destructions", destruction by the force, the destruction by the fire (violins, pianos, armchairs, etc.); the remains laid in plexiglass structures. The Combustions appeared in 1963. Two years later, his art was the joining of mechanical pieces. Arman took the American nationality in 1972.
With The 80s, he devoted his time to monumental works. Arman cut, sliced ,sawed, severed, he accumulated, changed the intended purpose of many objects , burned, broke, destroyed, by becoming attached to witness's role of a culture.