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George Segal

Fragment: Girl Resting, 1970

Plaster
16 × 15 × 11 in
40.6 × 38.1 × 27.9 cm
Contact For Price
location
Boston
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About the work
Krakow Witkin Gallery
Boston
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Cast plaster relief with paint

Cast plaster relief with paint

Signature
Signed 'GSegal', numbered and dated on reverse
Image rights
Barbara Krakow Gallery
George Segal
American, 1924–2000
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Whether portraying modern couples sitting in a park (Gay Liberation, 1980), or a biblical family’s unfolding drama (Abraham’s Farewell to Ishmael, 1987), George Segal’s life-size human figures express the fragility of the human condition. Hyperrealism, achieved by making full-body casts of live models using plaster bandages, renders the figures familiar and emotionally resonant. As such, Segal has been seen by some to have rejected the cool calculations of Pop art, despite being considered a prominent exponent of the movement for his casual depictions of contemporary culture and everyday situations. Yet, covered in bright primary colors or whitewash, Segal’s figures emanate an otherworldly strangeness, prompting New York Times critic Roberta Smith to describe them as “emotionally confounding.”

Save
Save
share
Share
Save
Save
share
Share
About the work
Krakow Witkin Gallery
Boston
Follow

Cast plaster relief with paint

Cast plaster relief with paint

Signature
Signed 'GSegal', numbered and dated on reverse
Image rights
Barbara Krakow Gallery
George Segal
American, 1924–2000
Follow

Whether portraying modern couples sitting in a park (Gay Liberation, 1980), or a biblical family’s unfolding drama (Abraham’s Farewell to Ishmael, 1987), George Segal’s life-size human figures express the fragility of the human condition. Hyperrealism, achieved by making full-body casts of live models using plaster bandages, renders the figures familiar and emotionally resonant. As such, Segal has been seen by some to have rejected the cool calculations of Pop art, despite being considered a prominent exponent of the movement for his casual depictions of contemporary culture and everyday situations. Yet, covered in bright primary colors or whitewash, Segal’s figures emanate an otherworldly strangeness, prompting New York Times critic Roberta Smith to describe them as “emotionally confounding.”

George Segal

Fragment: Girl Resting, 1970

Plaster
16 × 15 × 11 in
40.6 × 38.1 × 27.9 cm
Contact For Price
location
Boston
Have a question? Read our FAQ.
Want to sell a work by this artist? Consign with Artsy.
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