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George Segal

Woman Brushing her Hair, from the New York Ten portfolio, 1964

Screenprint in colors
22 × 17 in
55.9 × 43.2 cm
Edition 27/200
This is part of a limited edition set.
Bidding closed
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About the work
Provenance
HA
Heritage Auctions
Signature
Signed, dated, and numbered in pencil lower center
Publisher
Tanglewood Press Inc., New York Printed by Chiron Press, New York
Image rights
Courtesy of Heritage Auctions
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.”

navigate left
navigate right
Save
Save
view
View in room
share
Share
Save
Save
view
View in room
share
Share
About the work
Provenance
HA
Heritage Auctions
Signature
Signed, dated, and numbered in pencil lower center
Publisher
Tanglewood Press Inc., New York Printed by Chiron Press, New York
Image rights
Courtesy of Heritage Auctions
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

Woman Brushing her Hair, from the New York Ten portfolio, 1964

Screenprint in colors
22 × 17 in
55.9 × 43.2 cm
Edition 27/200
This is part of a limited edition set.
Bidding closed
Want to sell a work by this artist? Consign with Artsy.
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