Arman, born Armand Pierre Fernandez in Nice on November 17, 1928, has long been a prominent figure in 20th-century art, with his sculptures and artworks highly valued by the art market. Auction houses, modern and contemporary art museums, and the art world at large recognize his works as significant embodiments of modern and contemporary art. Arman’s sculptures are frequently sold at auction by prestigious auction houses in modern and contemporary art departments.

Arman developed a passion for both art and music from an early age, influenced by his father, an antique dealer and skilled violinist. This cultural heritage, combined with his growing interest in painting, led him to attend the École des Arts Décoratifs in 1946, followed by the École du Louvre three years later. It was during this time that he met Claude Pascal and, more importantly, Yves Klein, with whom he co-founded the Nouveau Réalisme movement in 1960. This European counterpart to American Pop Art, which included artists such as Nikki de Saint-Phalle and César, sought to offer a new artistic perspective on everyday consumer objects, recycling them into art.

Arman’s long artistic career began in 1956 with his first exhibition, Cachets, where he stamped ink-covered objects onto canvas. He eventually moved away from seeing objects as mere tools for creation and began to view them as the artwork itself. This shift was evident in 1959 with his Poubelles series, where he displayed various discarded items. In 1961, after moving to a New York loft in Soho—an area known for its contemporary artistic scene—Arman’s first Accumulations emerged, marking a pivotal moment in his career. His early Accumulations featured unaltered string instruments preserved in plexiglass, followed by his period of creative destruction, where his materials were burned, cut, multiplied, and worn down. His Accumulations pures and Coupés series showcased this signature technique, incorporating compressed paint tubes and multiplied miniature Eiffel Towers.

In the 1970s, Arman expanded his work, exploring new techniques. He ventured into monumental accumulations, creating public installations such as Long Term Parking (1982, Jouy-en-Josas), featuring cars embedded in concrete columns, and L’heure de tous (1985, Le Havre), with giant clock installations.

Widely exhibited and recognized around the world, Arman spent his later years focusing on easel painting and drawing while continuing his accumulation work, often blending it with pictorial composition.

Aguttes Auction House has successfully auctioned several works by Arman, achieving excellent results in both paintings and sculptures. The Contemporary Art Department, through its international network, offers collectors confidential appraisal and valuation services for Arman’s works, connecting buyers and sellers globally.

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