Abraham’s Farewell to Ishmael 1987
Torso: Hand on Thigh, 1978
George Segal (1924-2000)
George Segal was born in New York on November 26, 1924 to a Jewish couple who emigrated from Eastern Europe. His parents first settled in the Bronx where they ran a butcher shop. They later moved to a New Jersey poultry farm. George spent many of his early years working on the poultry farm , helping his family through difficult times. For a while George lived with his aunt in Brooklyn so that he could attend Stuyvesant Technical High School and prepare himself for a future in the math/science field. It was here that George first discovered his love for art. During World War II he had to curtail his studies in order to help on the family poultry farm. He later attended Pratt, Cooper Union and finally New York University where he furthered his art education and received a teaching degree in 1949. It was during these years that Segal met other young artists eager to make statements based on the real world rather than the pure abstractionism that was all the rage. He joined the 10th St scene, painting and concentrating on expressionist, figurative themes.
After marriage to Helen in 1946, they bought their own chicken farm. In order to support his family during the lean years he taught Art and English at the local high school and at Rutgers. In 1957 he was included in “Artists of the New York School: Second Generation” an exhibit at the Jewish Museum. For the next three years he showed annually at the Hansa. The path from painting to sculpture and the specific form of the sculpture is embodied in a series of events from the late 1950’s. In 1956, Segal was introduced to the Hansa Gallery and its’ artistic influence. The following year, Allan Kaprow chose the Segal farm as the scene of his first Happening – live art with an environmental sensibility. In 1958 Segal began to experiment in sculpture and had a one-man show at the Green Gallery in 1960, featuring several plaster figures.
In 1961, while teaching an adult education class in New Brunswick, a student brought to George’s class a box of dry plaster bandages. Segal took them home and experimented with applying them directly to his body. With the help of his wife, Helen, Segal was able to make parts of a body cast and assemble them into a complete seated figure. Segal provided an environment for his body cast by adding a chair, a window frame and a table. Man Sitting at a Table marked the discovery of a new sculptural technique and a turning point in the artist’s career.
Yes, you can blame those plaster death masks you did in grade school on him. :)