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59-765: [REDACTED] Look up Arman , ارمان , or آرمان in Wiktionary, the free dictionary. Armaan may refer to: Films [ edit ] Armaan (1942 film) , an Indian drama film by Kidar Nath Sharma Armaan (1953 film) , an Indian Hindi-language romantic drama film by Fali Mistry Armaan (1966 film) , a Pakistani film starring Waheed Murad Armaan (1981 film) , an Indian Hindi-language romance film by Anand Sagar, starring Raj Babbar and Shammi Kapoor Armaan (2003 film) , an Indian Hindi-language drama film by Honey Irani, starring Amitabh Bachchan, Anil Kapoor, Preity Zinta and Gracy Singh Armaan (2013 film) ,

118-407: A " size " to isolate the canvas from the acidic qualities of the paint. Traditionally, the canvas was coated with a layer of animal glue (modern painters will use rabbit skin glue) as the size and primed with lead white paint, sometimes with added chalk. Panels were prepared with a gesso , a mixture of glue and chalk. Modern acrylic " gesso " is made of titanium dioxide with an acrylic binder. It

177-926: A Pakistani film starring Fawad Khan and Aamina Sheikh Armaan (2017 film) , an Indian Gujarati-language film starring Poojan Trivedi, Alisha Parjapati, Netri Trivedi Armaan Ikramullah, fictional character from the 2000 Indian film Fiza , played by Hrithik Roshan People with the given name [ edit ] Armaan Ebrahim (born 1989), Indian racing driver Armaan Franklin (born 2000), American basketball player Armaan Jaffer (born 1998), Indian cricketer Armaan Khan (born 1980), Pakistani cricketer Armaan Khan (Politician) , Indian politician Armaan Kohli (born 1972), Indian actor Armaan Malik (born 1995), Indian singer Armaan Qureshi (born 1995), Indian field hockey player Armaan Wilson (born 2002), Canadian soccer player Armaan Zorace (born 1983), Indian filmmaker See also [ edit ] Arman (disambiguation) Topics referred to by

236-756: A citizen of the United States, he took the American civil name, "Armand Pierre Arman", but continued to use "Arman" as his public persona. From 1959 to 1962, Arman developed his most recognizable style, beginning with his two most renowned concepts: Accumulations and Poubelles (French for "trash bins"). Accumulations were collections of commonplace and similar objects which he arranged within transparent polyester castings, or within Plexiglas cases. His first welded Accumulations were created in 1962. The Poubelles were collections of strewn refuse. In 1960, he filled

295-495: A complicated and rather expensive process with the panel constructed from several pieces of wood, although such support tends to warp. Panels continued to be used well into the 17th century, including by Rubens , who painted several large works on wood. The artists of the Italian regions moved towards canvas in the early 16th century, led partly by a wish to paint larger images, which would have been too heavy as panels. Canvas for sails

354-446: A difference. For example, a "round" is a pointed brush used for detail work. "Flat" brushes are used to apply broad swaths of color. "Bright" is a flat brush with shorter brush hairs, used for "scrubbing in". "Filbert" is a flat brush with rounded corners. "Egbert" is a very long, and rare, filbert brush. The artist might also apply paint with a palette knife, which is a flat metal blade. A palette knife may also be used to remove paint from

413-474: A documentation of a dinner performance by the Fluxus artist Daniel Spoerri that Warhol filmed on March 5, 1964. Throughout the portrait-screen-test film, Arman sits in profile, looking down, appearing to be entranced in his reading, seemingly unaware of Warhol's camera, only making small gestures, rubbing his eyes, and licking the corner of his mouth. He remained silent, eyes gazing over the pages of what seemed to be

472-692: A newspaper, in this four-minute, 16mm black-and-white reel. Warhol owned two of Arman's Poubelles and another accumulation called Amphetamines , which were sold at Sotheby's auction of the Andy Warhol Collection in May 1988. Fascinated with the scene in New York City , Arman took up part-time residency there from his home in Nice in 1961, after his first exhibition at the Cordier Warren Gallery. In

531-414: A range of properties to the paint , such as the amount of yellowing or drying time. The paint could be thinned with turpentine . Certain differences, depending on the oil, are also visible in the sheen of the paints. An artist might use several different oils in the same painting depending on specific pigments and effects desired. The paints themselves also develop a particular consistency depending on

590-507: A studio, because while outside, an artist did not have the time to let each layer of paint dry before adding a new layer. Several contemporary artists use a combination of both techniques to add bold color (wet-on-wet) and obtain the depth of layers through glazing. When the image is finished and has dried for up to a year, an artist often seals the work with a layer of varnish that is typically made from dammar gum crystals dissolved in turpentine. Such varnishes can be removed without disturbing

649-862: A teacher at the Bushido Kai Judo Club in Madrid, Spain . In 1952, he served in the French military, completing his tour of duty as a medical orderly during the Indo-China War . Early on, it was apparent that Arman's concept of the accumulation of vast quantities of similar objects was to remain a significant component of his art. He had originally focused more attention on his abstract paintings, considering them to be of more consequence than his early accumulations of rubber stamps . In 1962, he began welding together Accumulations of similar kinds of metal objects, such as watches or axes. Inspired by an exhibition for

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708-593: A wider range from light to dark". But the process is slower, especially when one layer of paint needs to be allowed to dry before another is applied. The oldest known oil paintings were created by Buddhist artists in Afghanistan and date back to the 7th century AD. Oil paint was used by Europeans for painting statues and woodwork from at least the 12th century, but its common use for painted images began with Early Netherlandish painting in Northern Europe, and by

767-536: Is a historic settlement along the Silk Road and is famous for the Bamiyan Buddhas, a series of giant statues, behind which rooms and tunnels are carved from the rock. The murals are located in these rooms. The artworks display a wide range of pigments and ingredients and even include the use of a final varnish layer. The application technique and refined level of the paint media used in the murals and their survival into

826-410: Is a painting method involving the procedure of painting with pigments with a medium of drying oil as the binder . It has been the most common technique for artistic painting on canvas , wood panel or copper for several centuries, spreading from Europe to the rest of the world. The advantages of oil for painting images include "greater flexibility, richer and denser color, the use of layers, and

885-407: Is different from Wikidata All article disambiguation pages All disambiguation pages Arman Arman's father, Antonio Fernandez, an antiques dealer from Nice , was also an amateur artist, photographer, and cellist . From his father, Arman learned oil painting and photography . After receiving his bachelor's degree in philosophy and mathematics in 1946, Arman began studying at

944-466: Is divided into separate "runs" for figures ( figure ), landscapes ( paysage ), and marines ( marine ) that more or less preserve the diagonal. Thus a 0 figure corresponds in height with a paysage 1 and a marine 2 . Although surfaces like linoleum , wooden panel , paper , slate , pressed wood , Masonite , and cardboard have been used, the most popular surface since the 16th century has been canvas , although many artists used panel through

1003-461: Is frequently used on canvas, whereas real gesso is not suitable for canvas. The artist might apply several layers of gesso, sanding each smooth after it has dried. Acrylic gesso is very difficult to sand. One manufacturer makes a "sandable" acrylic gesso, but it is intended for panels only and not canvas. It is possible to make the gesso a particular color, but most store-bought gesso is white. The gesso layer, depending on its thickness, will tend to draw

1062-689: Is made by mixing pigments of colors with an oil medium. Since the 19th century the different main colors are purchased in paint tubes pre-prepared before painting begins, further shades of color are usually obtained by mixing small quantities as the painting process is underway. An artist's palette , traditionally a thin wood board held in the hand, is used for holding and mixing paints. Pigments may be any number of natural or synthetic substances with color, such as sulfides for yellow or cobalt salts for blue. Traditional pigments were based on minerals or plants, but many have proven unstable over long periods. Modern pigments often use synthetic chemicals. The pigment

1121-417: Is made from linen , but less expensive cotton fabric has been used. The artist first prepares a wooden frame called a "stretcher" or "strainer". The difference between the two names is that stretchers are slightly adjustable, while strainers are rigid and lack adjustable corner notches. The canvas is then pulled across the wooden frame and tacked or stapled tightly to the back edge. Then the artist applies

1180-719: Is mixed with oil, usually linseed, but other oils may be used. The various oils dry differently, which creates assorted effects. A brush is most commonly employed by the artist to apply the paint, often over a sketched outline of their subject (which could be in another medium). Brushes are made from a variety of fibers to create different effects. For example, brushes made with hog bristles might be used for bolder strokes and impasto textures. Fitch hair and mongoose hair brushes are fine and smooth, and thus answer well for portraits and detail work. Even more expensive are red sable brushes ( weasel hair). The finest quality brushes are called " kolinsky sable "; these brush fibers are taken from

1239-524: The Iris Clert Gallery in Paris with trash, creating Le Plein ( The Full ) as a counterpoint to an exhibition called Le Vide ( The Void ) at the same gallery two years earlier by his friend Yves Klein . In October 1960, Arman, Yves Klein , François Dufrêne , Raymond Hains , Martial Raysse , Daniel Spoerri , Jean Tinguely , Jacques Villeglé , and art critic and philosopher Pierre Restany founded

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1298-478: The Nouveau Réalisme group. Joined later by Cesar , Mimmo Rotella , Niki de Saint Phalle , and Christo , the group of young artists defined themselves as bearing in common their "new perspective approaches of reality". They were reassessing the concept of art and the artist for a 20th-century consumer society by reasserting humanistic ideals in the face of industrial expansion. Arman also became affiliated with

1357-545: The Père Lachaise Cemetery in Paris in 2008. 1964 1965 1966 1967 1969 1970 1973 Arman, Selected Activities. John Gibson Gallery, New York 1974 1975 1976 1977 1978 1979 1980 1981 1982 1984 1985 1986 1991 1992 1994 1995 1996 1998 1999 2000 2000-01 2001-02 2002 2003 2004 Oil painting Oil painting

1416-706: The ZERO art movement based in Germany. In 1961, Arman made his debut in the United States, the country which was to become his second home. During this period, he explored creation via destruction. The Coupes ( Cuts ) and the Colères ( Angers ) featured sliced, burned, or smashed objects arranged on canvas, often using objects with a strong "identity" such as musical instruments (mainly violins and saxophones) or bronze statues. Arman can be seen in Andy Warhol 's film Dinner at Daley's ,

1475-464: The flax seed, a common fiber crop . Linen , a "support" for oil painting (see relevant section), also comes from the flax plant. Safflower oil or the walnut or poppyseed oil or Castor Oil are sometimes used in formulating lighter colors like white because they "yellow" less on drying than linseed oil, but they have the slight drawback of drying more slowly and may not provide the strongest paint film. Linseed oil tends to dry yellow and can change

1534-543: The "mosaic" is completed and then left to dry before applying details. Artists in later periods, such as the Impressionist era (late 19th century), often expanded on this wet-on-wet method, blending the wet paint on the canvas without following the Renaissance-era approach of layering and glazing. This method is also called " alla prima ". This method was created due to the advent of painting outdoors, instead of inside

1593-458: The 17th century and beyond. The panel is more expensive, heavier, harder to transport, and prone to warp or split in poor conditions. For fine detail, however, the absolute solidity of a wooden panel has an advantage. Some artists are now painting directly onto prepared Aluminium Composite Material (ACM) panels. Others combine the perceived benefits of canvas and panel by gluing canvas onto panels made from ACM, Masonite or other material. Oil paint

1652-687: The German Dadaist Kurt Schwitters in 1954, Arman began working on Cachets , his first major artistic undertaking. At his third solo exhibition held in Paris's Galerie Iris Clert in 1958, Arman showed some of his first 2D accumulations he called Cachets . These rubber stamp marks on paper and fabric proved a success and provided a change of course in his career. At the time, he was signing only with his first name as an homage to Van Gogh , who also signed his works with his first name, "Vincent". In 1957, Arman chose to change his name from "Armand" to "Arman". On January 31, 1973, upon becoming

1711-491: The ability of the paint to hold or conceal the brushstroke. These aspects of the paint are closely related to the expressive capacity of oil paint. Traditionally, paint was most often transferred to the painting surface using paintbrushes , but there are other methods, including using palette knives and rags. Palette knives can scrape off any paint from a canvas and can also be used for application. Oil paint remains wet longer than many other types of artists' materials, enabling

1770-597: The artist to change the color, texture, or form of the figure. At times, the painter might even remove an entire layer of paint and begin anew. This can be done with a rag and some turpentine for a time while the paint is wet, but after a while the hardened layer must be scraped off. Oil paint dries by oxidation , not evaporation , and is usually dry to the touch within two weeks (some colors dry within days). The earliest known surviving oil paintings are Buddhist murals created c.  650 AD in Bamiyan , Afghanistan. Bamiyan

1829-461: The boundaries of traditional representational painting. Artists like Jackson Pollock drew inspiration from Monet’s large-scale canvases and his focus on the physical process of painting, using techniques that emphasized the action of creating art over the final product. Vincent van Gogh's influence on modern art is equally significant, particularly through his emotive use of color and texture. His impasto technique, where thick layers of paint create

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1888-409: The canvas and to cover the white of the gesso. Many artists use this layer to sketch out the composition. This first layer can be adjusted before proceeding further, an advantage over the "cartooning" method used in fresco technique. After this layer dries, the artist might then proceed by painting a "mosaic" of color swatches, working from darkest to lightest. The borders of the colors are blended when

1947-404: The canvas depends on the layering of the oil paint. This rule does not ensure permanence; it is the quality and type of oil that leads to a strong and stable paint film. Other media can be used with the oil, including cold wax, resins, and varnishes. These additional media can aid the painter in adjusting the translucency of the paint, the sheen of the paint, the density or 'body' of the paint, and

2006-451: The canvas when necessary. A variety of unconventional tools, such as rags, sponges, and cotton swabs, may be used to apply or remove paint. Some artists even paint with their fingers . Old masters usually applied paint in thin layers known as "glazes" that allow light to penetrate completely through the layer, a method also simply called "indirect painting". This technique is what gives oil paintings their luminous characteristics. This method

2065-740: The city, he met Marcel Duchamp at a dinner given by the artist and collector William Copley . First living at the Chelsea Hotel and later in Church street, while keeping a studio in Bowery , then in TriBeCa , Arman began work on large public sculptures. There were varied expressions of the Accumulations , including tools, watches, clocks, furniture, automobile parts, jewelry, and musical instruments in various stages of dismemberment. Musical instruments, specifically

2124-516: The earlier use of tempera paints in the majority of Europe. Most European Renaissance sources, in particular Vasari , falsely credit northern European painters of the 15th century, and Jan van Eyck in particular, with the invention of oil paints. However, Theophilus Presbyter (a pseudonymous author who is sometimes identified as Roger of Helmarshausen ) gives instructions for oil-based painting in his treatise, De diversis artibus ('on various arts'), written about 1125. At this period, it

2183-490: The early and mid-15th century were the first to make oil the usual painting medium and explore the use of layers and glazes , followed by the rest of Northern Europe, and then Italy. Such works were painted on wooden panels , but towards the end of the 15th century canvas began to be used as a support , as it was cheaper, easier to transport, allowed larger works, and did not require complicated preliminary layers of gesso (a fine type of plaster). Venice , where sail-canvas

2242-463: The height of the Renaissance , oil painting techniques had almost completely replaced the use of egg tempera paints for panel paintings in most of Europe, though not for Orthodox icons or wall paintings, where tempera and fresco , respectively, remained the usual choice. Commonly used drying oils include linseed oil , poppy seed oil , walnut oil , and safflower oil . The choice of oil imparts

2301-437: The hue of the color. In some regions, this technique is referred to as the drying oil technique. Recent advances in chemistry have produced modern water miscible oil paints that can be used and cleaned up with water. Small alterations in the molecular structure of the oil create this water miscible property. The earliest oil paintings were almost all panel paintings on wood, which had been seasoned and prepared in

2360-475: The medium. The oil may be boiled with a resin , such as pine resin or frankincense , to create a varnish to provide protection and texture. The paint itself can be molded into different textures depending on its plasticity . Traditional oil painting techniques often begin with the artist sketching the subject onto the canvas with charcoal or thinned paint. Oil paint is usually mixed with linseed oil, artist grade mineral spirits , or other solvents to make

2419-484: The oil paint into the porous surface. Excessive or uneven gesso layers are sometimes visible on the surface of finished paintings as a change that's not from the paint. Standard sizes for oil paintings were set in France in the 19th century. The standards were used by most artists, not only the French, as it was—and still is—supported by the main suppliers of artists' materials. Size 0 ( toile de 0 ) to size 120 ( toile de 120 )

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2478-435: The oil painting itself, to enable cleaning and conservation . Some contemporary artists decide not to varnish their work, preferring the surface unvarnished to avoid a glossy look. Oil painters such as Claude Monet and Vincent van Gogh revolutionized the medium in ways that profoundly shaped the evolution of modern art. Their groundbreaking innovations in technique, color, and form redefined traditional oil painting and set

2537-415: The paint thinner, faster or slower drying. (Because the solvents thin the oil in the paint, they can also be used to clean paint brushes.) A basic rule of oil paint application is ' fat over lean ', meaning that each additional layer of paint should contain more oil than the layer below to allow proper drying. If each additional layer contains less oil, the final painting will crack and peel. The consistency on

2596-487: The painted surface. Among the earliest impasto effects, using a raised or rough texture in the surface of the paint, are those from the later works of the Venetian painter Giovanni Bellini , around 1500. This became much more common in the 16th century, as many painters began to draw attention to the process of their painting, by leaving individual brushstrokes obvious, and a rough painted surface. Another Venetian, Titian ,

2655-595: The present day suggest that oil paints had been used in Asia for some time before the 7th century. The technique used, of binding pigments in oil, was unknown in Europe for another 900 years or so. In Northern Europe, practitioners of Early Netherlandish painting developed oil painting techniques which other Europeans adopted from around the late 15th century. From the Renaissance on, oil painting technology had almost completely replaced

2714-450: The previous method for painting on panel (tempera) had become all but extinct, although Italians continued to use chalk-based fresco for wall paintings, which was less successful and durable in damper northern climates. Renaissance techniques used several thin almost transparent layers or glazes , usually each allowed to dry before the next was added, greatly increasing the time a painting took. The underpainting or ground beneath these

2773-576: The range of painting media . This made portability difficult and kept most painting activities confined to the studio . This changed when tubes of oil paint became widely available following the American portrait painter John Goffe Rand 's invention of the squeezable or collapsible metal tube in 1841. Artists could mix colors quickly and easily, which enabled, for the first time, relatively convenient plein air painting (a common approach in French Impressionism ) The linseed oil itself comes from

2832-466: The same term [REDACTED] This disambiguation page lists articles associated with the title Armaan . If an internal link led you here, you may wish to change the link to point directly to the intended article. Retrieved from " https://en.wikipedia.org/w/index.php?title=Armaan&oldid=1186923135 " Categories : Disambiguation pages Disambiguation pages with given-name-holder lists Hidden categories: Short description

2891-506: The stage for various art movements that followed. Their influence extends through Expressionism, Fauvism, Abstract Expressionism, and beyond, fundamentally altering how modern artists approach color, texture, and emotional expression. Monet’s works, especially his later series like Water Lilies , are considered a precursor to abstract art. His emphasis on capturing the transient effects of light and his near-abstraction of form in his late works, such as Water Lilies: The Clouds (1920), pushed

2950-654: The strings and bronze, through his collaboration with a foundry in Normandy, France , became a major theme in Arman's work. Of Arman's Accumulations , one of the largest is Long Term Parking , which is on permanent display at the Château de Montcel in Jouy-en-Josas , France. Completed in 1982, this 60-foot (18 m) high sculpture consists of 60 mostly French cars set in 40,000 pounds (18,000 kg) of concrete. Just as ambitious

3009-596: The tail of the Siberian weasel . This hair keeps a superfine point, has smooth handling, and good memory (it returns to its original point when lifted off the canvas), known to artists as a brush's "snap". Floppy fibers with no snap, such as squirrel hair, are generally not used by oil painters. In the past few decades, many synthetic brushes have been marketed. These are very durable and can be quite good, as well as cost efficient . Brushes come in multiple sizes and are used for different purposes. The type of brush also makes

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3068-405: The École Nationale des Arts Décoratifs in Nice. He also studied judo at a police school in Nice, where he met Yves Klein and Claude Pascal . The trio bonded closely on a subsequent hitch-hiking tour around Europe. Completing his studies in 1949, Arman enrolled as a student at the École du Louvre in Paris, where he concentrated on the study of archaeology and Asian art. In 1951, he became

3127-446: Was a leader in this. In the 17th century some artists, including Rembrandt , began to use dark grounds. Until the mid-19th century, there was a division between artists who exploited "effects of handling" in their paintwork, and those who continued to aim at "an even, glassy surface from which all evidences of manipulation had been banished". Before the 19th century, artists or their apprentices ground pigments and mixed their paints for

3186-461: Was easily available, was a leader in the move to canvas. Small cabinet paintings were also made on metal, especially copper plates. These supports were more expensive but very firm, allowing intricately fine detail. Often printing plates from printmaking were reused for this purpose. The increasing use of oil spread through Italy from Northern Europe, starting in Venice in the late 15th century. By 1540,

3245-537: Was first perfected through an adaptation of the egg tempera painting technique (egg yolks used as a binder, mixed with pigment), and was applied by the Early Netherlandish painters in Northern Europe with pigments usually ground in linseed oil . This approach has been called the "mixed technique" or "mixed method" in modern times. The first coat (the underpainting ) is laid down, often painted with egg tempera or turpentine-thinned paint. This layer helps to "tone"

3304-799: Was his 1995 work Hope for Peace , which was specially commissioned by the Lebanese government to commemorate 50 years of their military's service. Standing in once war-torn Beirut , the 32-metre (105 ft) monument consists of 83 tanks and military vehicles. In 1953, Arman married electronic music composer Eliane Radigue and had two daughters, Marion (1951) and Anne (1953) and one son, Yves Arman (1954–1989). In 1971, he married Corice Canton, with whom he had one daughter, Yasmine (1982) and one son, Philippe (1987). In 1989, he had his sixth and last child, Yves Cesar Arman, son of Carrole Cesar. After Arman's death in New York in 2005, some of his ashes were buried at

3363-471: Was made in Venice and so easily available and cheaper than wood. Smaller paintings, with very fine detail, were easier to paint on a very firm surface, and wood panels or copper plates, often reused from printmaking , were often chosen for small cabinet paintings even in the 19th century. Portrait miniatures normally used very firm supports, including ivory , or stiff paper card. Traditional artists' canvas

3422-415: Was probably used for painting sculptures, carvings, and wood fittings, perhaps especially for outdoor use. Surfaces exposed to the weather or of items like shields—both those used in tournaments and those hung as decorations—were more durable when painted in oil-based media than when painted in traditional tempera paints. However, early Netherlandish paintings with artists like Van Eyck and Robert Campin in

3481-414: Was usually white (typically gesso coated with a primer), allowing light to reflect through the layers. But van Eyck, and Robert Campin a little later, used a wet-on-wet technique in places, painting a second layer soon after the first. Initially, the aim was, as with the established techniques of tempera and fresco , to produce a smooth surface when no attention was drawn to the brushstrokes or texture of

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