George Segal (artist)

George Segal (* 26. November 1924 in New York, N.Y.; † 9. June 2000) was an US-American artist and son of Jewish immigrants from Poland.

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youth

1941 studied it art at the “Cooper union School OF kind “. By the outbreak of the war and the work upthe parental chicken farm, he had to already interrupt its study after one year. 1946 it then finally continued the study to the “Rutgers University “.

its young

artist to late into the fifties its draws artistic beginnings at the beginningown pictures, with which humans in often very dramatic situations were explained. During this phase Segal looked for the change of the picture into the material area.

George Segal and Pop kind

in the course of a new art trend, which was called “Pop kind “,developed George Segal its new style, the creation of gypsum figures. This was the style, which should make it world-famous. Pop kind is to call the viewer a new kind of the reality in consciousness, whereby above all criticism at the consumer and abundance company is exercised. InSegal 1959/60 presented his first situational sculpture “one to this river of new artistic impressions on A bicycle”. This sculpture represents a man on a bicycle. For Segal the connection of gypsum figures, together with genuine articles is typical. In this example is the bicycle driver outGypsum manufactured the bicycle against it a commercial article.

artistic change

in its first sculptures still worked the artist with wood and wire as stand for its figures. he found 1961 then to a new kind of creating its figures. It availed itselfGypsum bandages and covered thereby the body of a person. After removing the gypsum covering, the hollow forms are built up to a body. Until it specialized 1969 itself predominantly in scenes, in which gypsum figures as well as material articles were to be seen. In this time Environmentals developed howfor example “Cinema (1963)” and “The restaurant (1967)”.

parts of the body had collected themselves

art over many years to date large quantities of not installed Gipsformen, which Segal in its past work did not want to process, because he her not fitting, or aestheticallyenough found. 1969 it began to convert thereby the remnants to own sculptures and to process fragments of a body to new things. The fragments showed individual parts of the body, like chests, gesässe, shoulders, chin portions. This was the beginning of George Segals erotischer phase, in which he frequentlyeasily, or also at all did not dress persons, or person fragments represented.

color composition

Segal completely did usually without colors. If it use colors, then the figures were to a large extent in-colored held. Mono chrome “skin”, which gets the figure, is the naturalistischen impressiontake and the fiktionalen impression of the scene strengthen. This playing with colors should invite the viewer to occur the happening. Even if “Woman against black window” a later picture by George Segal explained, then has he here fragment and color connected. The easily dressedWoman, whom one can see only partially, stands before a black window in a black wall. Besides it wears a shirt, which is opened in the center.

its quiet life

at the beginning of the eighties, was concerned the artist with a completely newKind of gypsum figures. If it had only poured humans up to now, then it turned into now also to objects, which represented then a quiet life. Differently than with the human illustrations, he has these not with gypsum bandages, but pour over with created by fruits, bottles and other articles.With its environmentalen plastics, Segal looks for not the spectacular, but he wants to catch the everyday life, which does not take the eye already any longer truely, because it became too everyday. On this kind it would like to reflect the conditions of the American society, in which itQuestions raises, to which one does not have the answer, let alone the solution ready.

which is to obtain the art

Segal avails itself a hopeless style, which is strengthened for example by the absence of any communication. Also the anonymity and the isolation of each particularStill additionally the melancholische structure of each scene raises figure. Despite these Verfremdung the viewer a part of its works of art explains. It is induced by Hinzutreten to sharings. One feels one with the scene. This is produced not least by the gypsum figures, thosehuman being-largely in a situation stand, sit, lie.

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