George Segal, ‘The Dinner Table’, Christie's

George Segal (1924-2000)

The Dinner Table

cast plaster models, wood, ceramic and mirror

approximate: 82 x 150 x 135 in. (208.3 x 381 x 342.9 cm.)

(dimensions variable)

Executed in 1962.

Signature: cast plaster models, wood, ceramic and mirror

New York, Sidney Janis Gallery, The New Realists, November-December 1962, no. 47.

Minneapolis, Walker Art Center; San Francisco Museum of Modern Art and Whitney Museum of American Art, George Segal: Sculptures, October 1978-July 1979, p. 65 (illustrated).

Newark Museum, Off Limits: Rutgers University and Avant-Garde Art, February-May 1999, p. 25, fig. 17 (illustrated).

C. Willard, "The Corporation as Art Collector," Look, 23 March 1965, p. 67 (illustrated).

U. Mulas, New York: The New Art Scene, New York, 1967, pp. 275-277 (illustrated).

J. Van der Marck, George Segal, New York, 1975, fig. 18 (illustrated).

P. Tuchman, George Segal, New York, 1983. p. 27, no. 19 (illustrated).

B. Haskell, Blam! The Explosion of Pop Minimalism and Performance 1958-1964, New York, Whitney Museum of American Art, exh. cat., 1984, p. 74, fig. 90 (illustrated).

S. Hunter and D. Hawthorne, George Segal, New York, 1988, p. 68, no. 9, fig. 71 (illustrated).

Green Gallery, New York

Acquired from the above by the present owner

About George Segal

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.”

American, 1924-2000, New York, New York, based in New York, New York