Study of form, emotion and the surroundings
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Painter
 1950’s started figurative painting
 Early work considered pop art
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Sculptor
 Examined relationship of fine art to popular art
forms
 Reference to individual place in mass culture
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life-size plaster human sculptures
 Human figures in space and related surroundings
 Influenced by Edward Hopper
 Attention to attitude and
gestures
 Rural and urban settings
Nighthawks (1942) close up
CAPE COD MORNING
ROOM IN BROOKLYN
ROOM IN NEW YORK
SUMMER EVENING
SUMMER IN THE CITY
SUNDAY
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Cast plaster molds of living figures
Attempt to lock to them in time in
constructed environment
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Select situation
Select a person and pose
Cast figure, sometimes in clothing
Soaked bandages in plaster and applied and
shaped them to the body
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Man Sitting at a Table (1961)
Used only outside unpainted surface of cast
Abstract, impressionistic, disembodied and
anonymous quality//depersonalized social
settings
MAN SITTING AT A TABLE (1961)
NOTICE!
simple almost sterile
environment
 anonymous//depersonalized
nature
 abstract and impressionistic
 What is the emotional
quality?
 What do you think about
when you view this?
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Parking Garage (1968): Poured industrial
plaster inside cast to capture details of
expression and physical form: more life-like
The Corridor (1976): cast and painted in vivid
colors as metaphors for “rosy disposition”
“blue funk” and “a black mood”
PARKING GARAGE (1968)
THE CORRIDOR (1976)
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Fragments and groups of figures in social
settings
Sound and lighting effects
Cast still-life scenes from works by major
modern artists: Picasso’s Chair (1973)
GEORGE SEGAL
PICASSO’S CHAIR (1973)
PABLO PICASSO
THE CHAIR
Similarities? Differences??
1. Choose either half figure or full figure to cast in plaster
using plaster strips.
2. Cut the strips into three long smaller strips.
3. Apply Vaseline thoroughly to all skin that will be
covered by the strips or tape plastic over clothing.
4. Wet strips and wrap them, one by one, around one
body section at a time until it is completely covered
5. Let strips heat up and dry. (may need hair dryer to
speed the drying process)
6. Cut slits down the side to remove body part (i.e. arm)
7. Carefully remove the hardened plaster surface
8. Repair slit with strips or pure wet plaster
9. Can (not at all required) paint sculpture when it dries
From
this
To this
Kristine Stiles. “Segal, George.” Grove Art
Online. Oxford Art Online. 25 Nov. 2008
Images
<http://www.oxfordartonline.com.proxy.lib.
muohio.edu/subscriber/article/grove/art/T0
77360>
Images:
 www.metmuseum.rog/…/
2000/images/2001.57.L.jpg
 http://www.artres.com
