مسيرة المبدع#أرمان ..#أرميناك_ أرزروني .بالفرنسية: Armand.. مواليد عام 1901 م ـ 1963م.‏ وهو المصور الفوتوغرافي المصري من أصل أرمني ..

أرمان (مصور فوتوغرافي)
من ويكيبيديا
أرمان
معلومات شخصية
الميلاد أغسطس 1901
أرضروم
الوفاة سنة 1963 (61–62 سنة)
القاهرة
مواطنة Flag of Armenia.svg أرمينيا
الحياة العملية
المهنة مُصوِّر
اللغات الفرنسية

الملكة ناريمان بعدسة أرمان
أرمان (بالفرنسية: Armand)‏ هو الاسم الذي عُرف به المصور الفوتوغرافي المصري ـ من أصل أرمني ـ أرميناك أرزروني (1901 ـ 1963).

ولد أرميناك أرزروني (بالأرمنية: Արմենակ Արծրունի) في أرضروم ـ التي كانت آنذاك جزءًا من الإمبراطورية العثمانية ـ في أغسطس 1901، ثم نزح مع أبيه إلى مصر سنة 1907، حيث استقرت الأسرة بالإسكندرية. شغف أرميناك بالرسم منذ كان تلميذًا بالمدسة، ثم التحق بالعمل في ستوديو المصور نادر بالإسكندرية، وفي عام 1925 انتقل إلى القاهرة ليعمل مع المصور النمساوي اليهودي زولا، الذي اشتهر بتصوير البورتريه وكان الاستوديو الخاص به يقع في أرض الشريف قرب ميدان مصطفى كامل. أرسل زولا تلميذه أرمان إلى النمسا ليتعلم كيفية تلوين الصور المطبوعة بالأبيض والأسود إلى جانب تعلم الرسم بالفحم والطباشير. وعقب وفاة زولا سنة 1930 افتتح أرزروني استوديو خاصًا به سماه “ستوديو أرمان” في ميدان مصطفى كامل، وفي عام 1956 افتتح ستوديو جديدًا بشارع طلعت حرب.

تخصص أرمان في تصوير البورتريه، والتقط صورًا للعديد من السياسيين ونجوم السينما والراقصات الشرقيات، إلى جانب بعض أعضاء الأسرة العلوية المالكة. وبعد ثورة 1952 استمر أرمان في عمله، فالتقط صورًا للعديد من المشاهير من بينهم جمال عبد الناصر والعديد من قادة الدول الأجنبية الذين زاروا مصر. عمل ابنه “أرمان” مساعدًا له منذ بداية الستينيات، وورث الابن الاستوديو بعد وفاة والده سنة 1963، وكان يوقع الصور بنفس توقيع والده.

Image result for المصور أرمان (بالفرنسية: Armand)‏ — Arman
From Wikipedia
Arman
Arman (1969).jpg
Arman in 1969
Born Armand Pierre Fernandez
November 17, 1928
Nice, France
Died October 22, 2005 (aged 76)
New York City
Nationality French, naturalized U.S.
Known for Sculpture, Painting, Printmaking
Movement Nouveau Réalisme
Arman (November 17, 1928 – October 22, 2005) was a French-born American artist.[1] Born Armand Fernandez in Nice, France, Arman was a painter who moved from using objects for the ink or paint traces they leave (“cachet”, “allures d’objet”) to using them as the painting itself. He is best known for his “accumulations” and destruction/recomposition of objects.
Biography
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 the École Nationale des Arts Décoratifs in Nice. He also started 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 oriental art. In 1951, he became a teacher at the Bushido Kai Judo Club in Madrid. During this time he also served in the French military, completing his tour of duty as a medical orderly during the Indo-China War.
Early career
Early on, it was apparent that Arman’s concept of the accumulation of vast quantities of the same 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 stamps. Only when he witnessed viewer reaction to his first accumulation in 1959 did he fully recognize the power of such art. In 1962, he began welding together accumulations of the same kinds of metal objects, such as axes (as pictured below).
Avalanch (1990), Tel Aviv University campus.
Music Power No. 2, bronze (1986), Israel Conservatory of Music, Tel Aviv.
Inspiration and name change
Inspired by an exhibition for 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 stamps on paper and fabric proved a success and provided an important change of course for the young artist’s career.
At the time, he was signing with his first name as an homage to Van Gogh, who also signed his works with his first name, “Vincent.” And, thus, in 1957, Arman chose to change his name from Armand to Arman. On January 31, 1973, upon becoming a citizen of the United States, he took the American civil name, Armand Pierre Arman.[2] Nevertheless, he continued to use “Arman” as his public persona.
Evolution of work
From 1959 to 1962, Arman developed his most recognizable style, beginning with his two most renowned concepts: “Accumulation” and “Poubelle” (French for “trash bin”). Accumulations were collections of common and identical objects which he arranged in polyester castings or within Plexiglas cases. His first welded accumulations were created in 1962.[2]
The “Poubelles” were collections of strewn refuse. In 1960, he filled the Galerie Iris Clert in Paris with garbage, creating “Le Plein” (“Full Up”) as a counterpoint of the exhibition called “Le Vide” at the same gallery two years earlier by his friend Yves Klein. These works began to garner the attention of the European art community.
In October 1960, Arman, Yves Klein, François Dufrêne, Raymond Hains, Martial Raysse, Daniel Spoerri, Jean Tinguely and Jacques Villeglé, and art critic and philosopher Pierre Restany founded 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 the humanistic ideals in the face of industrial expansion.
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” and the “Colères” 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 and Warhol
Arman can be seen in Andy Warhol’s film Dinner at Daley’s, 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 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.
Eros, Inside Eros, bronze of 1986, in the Hirshhorn Museum and Sculpture Garden
Move to New York City
Fascinated with the scene in New York, Arman took up part-time residency there from his home in Nice in 1961, after his first exhibition at the Cordier Warren Gallery. In 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 expansions of the accumulations. Their content included tools, watches, clocks, furniture, automobile parts, jewelry, and, of course, musical instruments in various stages of dismemberment. Musical instruments, specifically the strings[3] and bronze, through his collaboration with a foundry in Normandy, France, became a major avenue in Arman’s work.
Of Arman’s accumulations, one of the largest is Long Term Parking,[4][5] which is on permanent display at the Château de Montcel in Jouy-en-Josas, France. Completed in 1982, this 60 feet (18-meter) high sculpture consists of sixty mostly French cars set in 40,000 pounds (18,000 kg) of concrete. Just as ambitious was the 1995 work Hope for Peace,[6] which was specially commissioned by the Lebanese government to commemorate 50 years of the Lebanese military’s service. Standing in once war-torn Beirut, the 32-meter (105-ft.) monument consists of 83 tanks and military vehicles.
Personal life
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, part of his ashes were buried at the Père Lachaise Cemetery in Paris in 2008.[citation needed]
Selected exhibitions and awards
Music accumulation (1971), concrete and iron structure, Parco Sempione, Milan.[7] Photo by Paolo Monti.
1960s
1964
Arman, Stedelijk Museum, Amsterdam, Holland
Arman, Walker Art Center, Minneapolis, Minnesota
1965
Arman, Museum Hans Lange, Krefeld, Germany
1966
Arman, Palais de Beaux-Arts, Brussels, Belgium
Arman, Musée de la Ville, Saint-Paul-de-Vence, France
1967
Arman, Palazzo Grassi, Venice, Italy
1969
Arman: Accummulations Renault (traveling exhibition):
Stedelijk Museum, Amsterdam, Holland;
Musée des Arts Decoratifs, Paris, France;
Louisiana Museum of Modern Art;
Humlebaek, Denmark;
Kunsthalle, Berlin, Germany;
Städtische Kunsthalle, Düsseldorf, Germany;
Moderna Museet, Stockholm, Sweden;
Städtische Kunstammlungen, Ludwigshafen, Germany;
Kunsthaus, Zürich, Switzerland;
Amos Anderson Taidemuseo, Helsinki, Helsingfors, Finland
1970s
1970
Arman, Modern Art Museum, Stockholm, Sweden
1974
Arman, Salles romanes du Cloître Saint-Trophime, Musée Réattu, Arles, France
Arman: Selected Works 1958-1974, La Jolla Museum of Contemporary Art, California; *Fort Worth Art Museum, Texas
1975
Arman: Objets Armés 1971-1974, Paris, Musée d’Art Moderne de la Ville de Paris, France
1976
Arman, Artcurial auction house, Paris, France
1977
Arman: Paintings and Sculptures, Ulrich Museum of Art, Wichita State University, Kansas
1978
Arman, Veranneman Foundation, Kruishoutem, Belgium
1979
Arman: Rétrospective, Centre d’Art et de Culture, Flaine, France
1980s
1980
Arman, Veranneman Foundation, Kruishoutem, Belgium
1981
Arman, Hessisches Landesmuseum, Darmstadt, Germany
1982
Arman: Parade der Objekte: Retrospektive 1955-1982 (traveling exhibition):
Kunstmuseum, Sammlung Sprengel, Hanover, Germany;
Hessisches Landesmuseum, Darmstadt, Germany;
Tel Aviv Museum, Israel;
Kunsthalle, Tübingen, Germany;
Musée Picasso, Château Grimaldi, Antibes, France;
Musée d’Art Contemporain Dunkerque, France
1984
Arman o L’Oggetto come Alfabeto: Retrospettiva 1955-1984, Museo Civico delle Belle Arti, Lugano, Switzerland
Arman, Museo d’Arte Moderna, Parma, Italy
1985
Arman, Seibu Museum of Art, Tokyo, Japan; Walker Hill Art Center, Seoul, Korea
Arman Aujourd’hui, Musée de Toulon, France
1986
Arman: Retrospective, Wichita State University, Ulrich Museum of Art, Kansas
Arman, Veranneman Foundation, Kruishoutem, Belgium
1990s
1991
Arman in Italy, Fondazione Mudima, Milan, Italy
Arman Sculpture, Contemporary Sculpture Center, Tokyo, Japan
Arman: A Retrospective 1955 – 1991, The Brooklyn Museum, Brooklyn, New York; The Detroit Institute of Art, Detroit, Michigan
1992
Il Giro di Arman, Associazione Culturale Italo-Francese, Bologna, Italy
1994
Le Ceramica di Arman, Museo Internazionale delle Ceramiche in Faenza, Faenze, Italy
1995
Arman, Musée Royal de Mariemont, Mariemont-Chapelle, Belgium
1996
Arman: The Exhibition of International Sculpture Master, Modern Art Gallery, Taichung, Taïwan
1998
Arman, Musée du Jeu de Paume, Paris, France
1999
Arman, Tel Aviv Museum of Art, Israel
Arman, Museu de Arte Moderna do Rio de Janeiro, Brazil; Museu de Arte de São Paulo Assis Chateaubriand, São Paulo, Brazil
21st Century
2000
Arman—20 stations de l’objet, Couvent des Cordeliers, Paris, France
Arman, Fundaciò “la Caixa,” Barcelona, Spain
Arman, la traversée des objets, Palazzo delle Zitelle, Venice, Italy
Arman, Museo de Monterrey, Mexico
Arman, National Museum of History, Taipei, Taiwan
2000-01
Arman: Werke auf Papier, Ludwig Museum, Coblenz, Germany
2001-02
Arman: Through and Across Objects, Boca Raton Museum of Art, Florida
2002
Arman: Works on Paper, Villa Haiss Museum, Zell, Germany
2003
Awarded 2003 Sport Artist of the Year, The American Sport Art Museum and Archives, United States Sports Academy, Daphne, Alabama
Arman: Arman, Museum of Contemporary Art of Teheran, Teheran, Iran
Arman, Marlborough New York City
2004
Omaggio ad Arman Arte Silva, Sergno
Arman—Peinture, Marlborough Monaco, Monaco
2005
Hommage a Arman, Galerie Anne Lettree, Paris
2006
Arman—Subida al Cielo, Musée d’ Art Moderne et d’Art Contemporain Nice, France
Arman—A Tribute to Arman, Marlborough Gallery, New York
Arman—No Comment, Galerie Georges-Phillippe & Nathalie Vallois, Paris
2008
Arman, Palazzo Bricherasio, Turin
2010-2011
Arman, a retrospective, Centre Georges Pompidou, Oct. 2010, Paris
Arman, retrospective, Museum Tinguely, Feb. 2011, Basel, Switzerland
Arman-in les Baux de Provence, July-Oct. 2011, Les Baux-de-Provence
2013

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صورة من أرشيف “استديو أرمان”ولد المصور الأرمني أرميناك أرزروني في أرضروم إحدى مدن تركيا العثمانية سنة 1901، وفي طفولته انتقل مع أسرته للعيش في الإسكندرية حيث برزت منذ سن مبكرة موهبته في الرسم والتصوير.
في عام 1925 انتقل إلى القاهرة حيث عمل مع مصور نمساوي يدعى زولا، قبل أن يفتتح استديو تصوير خاص به في شارع مصطفى كامل بوسط البلد أسماه “استديو أرمان” عمل فيه حتى عام 1956 حيث انتقل الاستديو إلى شارع طلعت حرب، وبعد وفاة أرميناك عام 1963 واصل ابنه العمل في الاستديو الذي أسسه والده.

خلال حياته صور أرميناك آلاف الصور التي تحتوي من بينها على بورتريهات لبعض أميرات أسرة محمد علي وشخصيات سياسية بارزة وفنانين وفنانات معروفين وسيدات مجتمع وراقصات أجنبيات ممن كن يعملن في ملاهي وكازينوهات القاهرة.
من هذا الأرشيف الغني والذي تحتفظ بجزء منه المؤسسة العربية للصورة ببيروت اخترنا لكم مجموعة من 20 صورة لشخصيات معروفة وأخرى مجهولة صورها أرميناك أرزروني خلال مسيرته المهنية الطويلة والحافلة.