Artist Name: Lasar Segall

Title: "Duas Cabeças" (Two Heads)

Signature Description: Unsigned (COA will be provided by Yair Gallery, Tel Aviv).

Technique: Photolithograph on heavy stock English Sparto paper, after the original woodcut dated 1921

Image Size: 38 x 27 cm / 14.96" x 10.63" inch

Frame: Unframed

Condition: Good condition

Artist's Biography:

The artist Lasar Segall (July 21, 1891 – August 2, 1957) was a Brazilian Jewish painter, engraver and sculptor born in Lithuania. Segall's work is derived from impressionism, expressionism and modernism. His most significant themes were depictions of human suffering, war, persecution and prostitution.

Biography

Impressionist stages

Segall was born into the Jewish ghetto of Vilnius, Lithuania and was the son of a Torah scribe. Segall moved to Berlin at the age of 15 and studied first at Berlin Königliche Akademie der Künste from 1906 to 1910.[1] At the end of 1910 he moves to Dresden to then continue his studies at the Kunstakademie Dresden as a 'Meisterschüler'.

Expressionist Forum

Segall published a book of five etchings in Dresden, Sovenirs of Vilna in 1919, and two books illustrated with lithographs titled Bubu and Die Sanfte. He then began to express himself more freely and developed his own style, which incorporated aspects of Cubism, while exploring his own Jewish background. His earlier paintings throughout 1910 to the early 1920s depicted troubled figures surrounded in claustrophobic surroundings with exaggerated and bold features, influenced by African tribal figures.

In 1912 his first painted series of works were conducted in an elderly insane asylum. Segall's work largely portrayed the masses of persecuted humanity in his Expressionist form. Later that year, he moved to São Paulo, Brazil, where three of his siblings were already living.

He returned to Dresden in 1914 and was still quite active in the Expressionist style. In 1919 Segall founded the 'Dresdner Sezession Gruppe 1919' with Otto Dix, Conrad Felixmüller, Otto Lange and other artists. Segall's exhibition at the Galery Gurlitt received multiple awards. However successful Segall was in Europe, he had already been greatly influenced by his time spent in Brazil, which had already transformed both his style and his subject matter. The visit to Brazil gave Segall the opportunity to obtain a strong idea of South American art and, in turn, made Segall return to Brazil yet again.

Beginnings in Brazil: Modernist trends

Though Segall was still a Russian[citation needed] citizen, he moved back to Brazil in 1923. Upon Segall's return to São Paulo he obtained Brazilian citizenship along with his first wife, Margarete.

While in Brazil, his paintings were influenced heavily by the Red Light District in Rio de Janeiro. Many Brazilian artists influenced Segall's subject matter and strengthened his Cubist form. He became acclimated within his new found country and painted themes contributing to Brazil's countryside, mulattoes, favelas, prostitutes and plantations. Due to the harsh and extreme nature of Segall's portrayal of prostitutes and his depiction of human suffering, his artwork became controversial. This particular controversy in his artwork caused he and other well known artists to organize a pro Modernist event known as the Semana de Arte Moderna[dubious – discuss.

In the year 1923, the Semana de Arte Moderna was organized Segall included, being one of the mainstream forerunners in the art exhibition. The week long event included Segall's work, as well as Anita Malfatti's largely controversial artwork. Not only were paintings included, but performances and other art forms were conducted at the event. Segall's avant garde innovations ranked him highly among other Brazilian outstanding modern artists during that time, like Candido Portinari and Emiliano Di Cavalcanti.

Though Segall had great intentions of residing only in Brazil, he continued to return back and forth to Europe for his own personal exhibitions. In 1925, Segall became extremely close to his pupil Jenny Klabin and eventually married her.

Sociedade Pro-Arte Moderna (SPAM)

In 1932, shortly after Segall's multiple visits to Paris and Germany he founded an organization along with other artists known as Sociedade Pro-Arte Moderna (SPAM).[2] The organization was short lived (November 1932 - December 1934). Similar to the Semana de Arte Moderna, the organization included members of São Paulo's earliest modernist forerunners. SPAM's central idea was to serve as a link between artists, intellectuals, collectors, patrons, and the public as a whole. SPAM was also created to serve as a public environment for vanguard art in Brazil.

SPAM consisted of two exhibitions. The first exhibition showed works from the artists of the School of Paris from multiple São Paulo collections which acknowledged Brazilian artists of the time. The controversial Modernist artist, Tarsila do Amaral, also held her artworks in the exhibition as well as works of local artists such as Anita Malfatti, Victor Brecheret, John Graz, Regina Graz and Rossi Osir. The second half of the exhibition consisted of solely Brazilian artists from São Paulo and Rio de Janeiro- such as di Cavalcanti, Ismael Nery, Portinari and Alberto da Veiga Guignard.

Also similar to the Semana de Arte Moderna, two significant "balls" were held by the leaders of the organization. The rooms in which the balls were held were named "Cidade de SPAM" (City of SPAM). Though these balls seemed to be fund raising events, they were merely performances to make audiences think about the ever changing movement in Brazil. They consisted of live musical acts, dancers, built scenery and artwork and ornate costumes. The sets were meant to portray "mini towns", and SPAM even had its own newspapers, anthem and multiple governing bodies.

Segall's works included in the SPAM exhibition were two of his most important series of paintings in 1935; Campos do Jordao landscapes and the Portraits of Lucy. Lucy was an understudy pupil and Segall conducted a series of images dedicated to her. Campos do Jordao landscapes and the Portraits of Lucy depicted the world's outbreak of war, it portrayed genocides and indefinite tragedy.

The organization of SPAM fought for justice yet, disagreements arose between Integralists, known as Brazilian Fascists, that discriminated against foreigners in Brazil, especially Jews. With this large amount of controversy and intolerable strain on SPAM's membership, the group soon fell apart. A defeated Segall meant that the driving force behind the organization, had discouragingly, come to an end.

Controversy in Europe

Segall's work was still gaining much positive credit still in Brazil, despite the dissolution of SPAM. The positive feedback considers Segall one of Brazil's most influential modernist artists. Although, back in Europe, his work was considered degenerate and preposterous. Specifically in Germany, his artwork was no longer able to be shown in exhibits. Fascism was rising quickly in Germany and many believed Segall's work to portray negatively on Europe's economic status due to the largely acknowledged outbreak of war.

This particular negative impact on his artwork then forced Segall to create a series of images of his troubled Jewish childhood and to depict the large amount of emigration waves that he grew up with, as well. These images also portrayed universal suffering of human existence.

Later years

Still haunted by Rio de Janeiro's Mangue, Segall created images that stayed throughout his late career. Much of his earlier impact of human suffering led Segall to create one of his most famous artworks in 1939 and 1940, known as Navio de emigrantes (Ship of Emigrants). The image depicts a heavily condensed and large amount of people on the dock of a ship. Although this does not coincide with much of Segall's previous work of human suffering, this provides the audience with a deep depiction of (at the time) the contemporary and controversial waves of emigrants and human affliction and persecution.

Later in the mid 1940s, Segall published his series of Mangue drawings that revealed poverty, specifically in the Rio de Janeiro slums. Becoming wholeheartedly closer to his Brazilian nationality, Segall portrays these images in a stark manner, yet the underprivileged and oppressed images provides a significant cultural identity for the Rio de Janeiro inhabitants.

In 1949 till his death in 1957, he continued to work on engraving and painting Mangue as well as producing a series entitled Wandering Women and Forests.

Subject matter and themes

Segall's subject matter was portrayed more subtly and softer in his early career. He did not depict much of the African influence on his artwork until he moved to Brazil. It was not until Segall visited Brazil for the first few times, that he branched out towards the Expressionist style. He was able to express himself in a freer manner while he portrayed the lifelong theme of his Jewish culture depicting the tribulations of European Jews.

Segall's initial paintings in Brazil reflect a strong national connection and passion for his new found homeland. He portrayed the landscapes in São Paulo and Rio de Janeiro and portrayed the different races without tension or malintention. However, Segall remained faithful towards his Cubist nature throughout the majority of his artworks. Specifically, one of his famous artworks, entitled Banana Plantation, shows a Brazilian banana plantation, thick in density. Segall achieved balance in this painting by centering the worker's neck and head protruding from the bottom of the painting. This causes the audience to be fully focused towards the center space. This significant symmetrical balance emphasizes the human element involved in the Brazilian agricultural system. The diminished amount of slavery in Brazil during this time period, the 1920s, abolished Brazilian-Negro slaves and replaced them with an overwhelming amount of European workers coming to Brazil. This particular image portrays the engulfment of the plantations by the Europeans.

Other prominent theme in Segall's work is human suffering and emigration. In another famous artwork of Segall's, entitled Ship of Emigrants, a ship dock is overcrowded and engulfed with emigrant passengers. Not only does the image portray a dark and saddening emotion, but it significantly portrays the troubled figures aboard the ship. The solemn faces and lack of expression on the passengers blatantly shows the harsh reality of emigrants and their depressing lifestyles of forced moves.

Museu Lasar Segall

Like the Mexican Surrealist Frida Kahlo, Lasar Segall also had his original home renovated into a public museum in 1967. Although unlike Kahlo's famous museum in Mexico City, Segall's Museum is not only a museum that holds his most famous works, but it is also a non-profit organization respected highly among the community of São Paulo.

Museu Lasar Segall is also a center for the art community in São Paulo to participate in monitored cultural activities regularly. Art classes such as photography, engraving and the study of film are held in Segall's home. Also incorporated in the Museum is a large, highly acclaimed art library that holds specific books directed towards photography and the arts of spectacle.

The Museu Lasar Segall is preserved to explore the stimulating experiences within multiple forms of art while still keeping a Brazilian cultural identity. The form of art conducted in Brazil is of one entirely different than other art forms. The Museum is intact today because of Brazil's concern to maintain their strong nationality and to preserve Lasar Segall's culturally influenced art dedicated for Brazil.

Exhibitions

·         March 1913 solo exhibition in São Paulo; June 1913 solo exhibition in Campinas

·         1920 large solo exhibition at the Museum Folkwang in Hagen; solo exhibition at the Schames Gallery in Frankfurt

·         1922 takes part in Internation Art Exhibition in Düsseldorf

·         1924 solo exhibition in São Paulo

·         1926 exhibition at the Galerie Nierendorf, Berlin and another exhibition at Neue Kunst Fides Gallery, Dresden

·         1927 solo exhibition in São Paulo

·         1928 solo exhibition at the Rio Palace Hotel, Rio de Janeiro

·         1935 takes part in the International Painting Exhibition at Carnegie Institute, Pittsburgh

·         1937 ten of his works are shown at the Nazi- Sponsored Degenerate Art Exhibition, Munich

·         1938 solo exhibition at Renou et Colle Gallery, Paris

·         1945 takes part in the Art Condemned by the III Reich, Askanazy Gallery, Rio de Janeiro

·         1948 solo exhibition at Associated American Artists Galleries, New York.

Additional Information:

Lasar Segall (Vilnius, Lithuania, 1891 - São Paulo, 1957).

Painter, engraver, sculptor, draughtsman. Of Jewish origin, he began his study of art at the Drawing Academy of Master Antokolski, in Vilnius, Lithuania. In 1906, he moved to Germany and studied at the School of Applied Arts and the Imperial Academy of Fine Arts in Berlin. He then went to Dresden, where he attended the Academy of Fine Arts. He increased his contacts with Impressionist painting, holding his first individual exhibition in 1910, at the Gurlitt Gallery. At the end of 1912, he came to Brazil, and in the following year, exhibited in São Paulo and Campinas, returning to Europe in the same year. He initially executed paintings with na Impressionist basis, under the influence of Jozef Israël and Paul Cézanne (1839-1906). From 1914 onwards, he became interested in Expressionism, developing himself fully within this aesthetic in 1917. In 1919, while in Dresden, and together with Otto Dix (1891-1969), Conrad Felixmüller (1897-1977), Otto Lange (1879-1944) and others, he founded the Dresdner Sezession Gruppe 1919, a group that brought together Expressionist artists within the city. In 1921, he published the album of lithographs, Bübüe and in 1922, the Erinnerung an Wilna - 1917 [Memoir of Vilna - 1917] with etchings. He returned to Brazil in 1923, settling in São Paulo, where he was a notable figure in Modern Art circles, being considered a representative of the European avant-gardes. In the following year, he executed the decorations for the Futurist Ball of the Automobile Club and the Modernist Pavilion of Olívia Guedes Penteado (1872-1934). He was one of the founders of the Sociedade Pró-Arte Moderna (SPAM) [Pro-Modern Art Society], in 1932, becoming its director until 1935. In 1967, ten years after his death, his house in Vila Mariana, in São Paulo, was transformed into the Lasar Segall Museum.

Critical Commentary

Lasar Segall travelled to Germany in 1906, where he attended the Academy of Fine Arts of Berlin, dominated by tendencies linked to the Impressionist and Postimpressionist movements. In his painting, Sem Pai [Fatherless] (1909), the free brushstrokes recall Impressionism, although the work has a sombre atmosphere, reinforced by the dark tones of his palette, the work standing out on account of its social and psychological portrayal of the characters. In 1910, Segall studied at the Academy of Fine Arts of Dresden. He began to adopt clearer tones, albeit while maintaining his inclination towards monochromaticism, characteristic of all his production, as is the case, for example, in Leitura [Reading] (1914). He showed an admiration for the work of Paul Cézanne, principally on account of the constructive aspect of the latter's brushstroke, as may be observed in Violinista [Violinist] (1912).

His first contact with Brazil occurred in 1913, when he exhibited in São Paulo and in Campinas, returning to Dresden in the same year. For the art historian, Claudia Valladão de Mattos, from 1914 onwards, the artist reveals an interest in Expressionism, seeking a new pictorial language and a more acute psychological characterisation of his figures. Under the impact of the First World War (1914-1918), Segall's painting reflects a concern with social injustices and human suffering. His paintings are structured using diagonal planes and show a tendency towards geometrisation, with a predominance of triangular forms. Segall uses dark and contrasting forms, e.g. in the painting, Aldeia Russa [Russian Village] (1917/1918).

In 1918, he went to Vilna, the city of his birth, a fact that marks his work, since it strengthened his identification with a number of Jewish issues that became important for his artistic experience. In the same year, he returned to Dresden. He now replaced the livelier tones of his first Expressionist phase with more sober ones, which he obtained through successive layers of paint in canvases such as Kaddisch - Reza para os Mortos [Kaddish - Prayer for the Dead] (1918) and Os Eternos Caminhantes [The Eternal Walkers] (1919). These paintings arose in an artistic environment marked by Cubism and the second phase of German Expressionism, which tended towards a realist approximation to the figure and included artists such as George Grosz (1893-1959) and Otto Dix (1891-1969). At the same time, by comparison with the lively colours used by these artists, the works of Segall have a melancholy or lyrical character and are worked in sober tones, with ochres, greys, blacks and violets predominating. The chromatic range alludes to sadness in such works as Pobreza [Poverty] (1921), in which the construction using previously used angular triangular forms gives way to more rounded lines and significantly deformed figures with huge eyes and heads.

In 1923, Lasar Segall moved to Brazil, where he came into contact with the young Modernists. In his first works realised there, he reveals his bedazzlement with the light and tropical colours, becoming aware not only of the landscape, but also of the Brazilian art world: his output carried on a dialogue with the works of Tarsila do Amaral (1886-1973), and of other local artists. In the canvases executed shortly after his arrival in Brazil, Segall's palette was transformed. The themes (black mothers, landscapes, favelas) are painted in open spaces, with clear and luminous colours. He made various works in which he accentuated the drama of figures marginalised by society: Menino com Lagartixas [Boy with Lizards] (1924) and Colina Vermelha [Red Hill] (1926) both date from this period.

From 1928 to 1932, Segall lived in Paris. During this period, he produced works with Brazilian motifs, also using recurrent themes such as emigration. The vibrant colouring of his canvases gives way to a softer, paler light. The paintings, Família do Pintor [The Painter's Family] and Maternidade [Maternity] (both dating from 1931) present a thicker surface, which is paralleled by the sculptures that the artist started to make. Segall began to structure his compositions through chromatic blotches, with the line becoming less predominant in his works. His experience with sculpture spilled over into his tones and the surface of the painting, with his figures acquiring volume and more sculptural aspects. His colours become earthy, with browns, greys and ochres, as may be seen in paintings such as Mãe Negra [Black Mother] (1930) and Casa na Floresta [House in the Forest] (1931).

From 1935 onwards, Segall painted landscapes of Campos de Jordão with a highly refined chromaticism. His work acquired the aspect of a dense material, with most peculiar colouring. Themes linked to human dramas persist in his large canvases, such as: Navio de Emigrantes [Ship of Emigrants] (1939-1940) and Guerra [War] (1942). During the 1950s, Segall's works revealed a greater artistic liberty, approaching Abstraction, e.g. Floresta Crepuscular [Forest at Sunset] (1956). In this work, nature is the inspiration for the vertical supports, in which he establishes a subtle study of light and colour.

Over the course of his career, Segall dedicated himself to various techniques of engraving. In his first works, he explored the use of shadows, accentuating the chiaroscuro. For Claudia Valladão, there is a certain discontinuity between Segall's graphic output during the period 1914-1916 and his painting. In the former, he moves away from the Impressionist aesthetic in works such as Cabeças [Heads] (1914), although the same does not occur in his painting, which moves into a transitional phase. In 1918, the artist produced five lithographs inspired by the tale Die Sanfte [The Gentle Maiden] by Dostoyevsky (1821 - 1881). These represent a high point in his output, due to the extreme concentration and simplification of the figures, conceived as geometric forms, the sparing line, and the play that the artist establishes between forms and voids. In the Mangue [Mangrove] (1926-1929) series, realised within Brazil, he deals with the theme of prostitution: a climate of tension predominates, established by the presence of elements such as shutters and curtains, or oppressive environments in which the characters are located. The Emigrantes [Emigrants] (1927-1928) series has a more tranquil atmosphere, with open spaces emerging in which the sky and sea are represented.

Drawings are important in Segall's output, and, as in his engraving, present recurring themes, such as the world of the socially underprivileged and marginalised. Segall heavily deforms his figures, locating them in spaces that oppress them, to create a climate of sadness and neglect.

His humanism, which is revealed through his concern with violence, misery and social injustice, as well as a certain lyrical character, are present throughout his career. Segall deals with universal themes, expressing them with emotion, through the colours of his paintings or the play between line and void in his graphic output.

Lasar Segall - em russo, Лазарь Сегал; em lituano, Lozarius Segalas (Vilnius, 21 de julho de 1891 — São Paulo, 2 de agosto de 1957) foi um pintor, escultor e gravurista judeu brasileiro nascido na Lituânia. O trabalho de Segall tem influências do impressionismo, expressionismo e modernismo. Seus temas mais significativos foram representações pictóricas do sofrimento humano: a guerra, a perseguição e a prostituição.

No ano de 1923, Lasar Segall mudou-se definitivamente para o Brasil. Já era um artista conhecido. Contudo, foi aqui que, segundo suas próprias palavras, sua arte ficou como o "milagre da luz e da cor". Foi um dos primeiros artistas modernistas a expor no Brasil.

Biografia

De família judia, Lasar Segall desde cedo manifestou interesse pela arte. Iniciou seus estudos em 1905, quando entrou para a Academia de Desenho de Vilnius, sua cidade natal. No ano seguinte, mudou-se para Berlim, passando a estudar na Academia Imperial de Berlim, durante cinco anos. Mudou-se, a seguir, para Dresden, estudando na Academia de Belas Artes.

Em fins de 1912, Lasar Segall veio ao Brasil, encontrando-se com seus irmãos, que moravam no país, entre eles a irmã Luba Segall Klabin, que havia se casado com Salomão Klabin e tiveram três filhos: Esther Klabin, Samuel Klabin e Horácio Klabin.

Realizou suas primeiras exposições individuais em São Paulo e em Campinas, em 1913. Pela primeira vez o Brasil vinha a conhecer a arte expressionista europeia. Entretanto a repercussão junto ao público e à crítica foi mínima.

Logo depois ele voltou para à Europa, casando-se, em 1918, com Margarete Quack.

Fundou, com um grupo de artistas, o movimento "Secessão de Dresden", em 1919, realizando, a seguir, diversas exposições na Europa.

Segall mudou-se para o Brasil em 1923, dedicando-se, além da pintura, às artes decorativas. Criou a decoração do Baile Futurista, no Automóvel Clube de São Paulo, e os murais para o Pavilhão de Arte Moderna de Olívia Guedes Penteado.

Já separado de sua primeira esposa, casou-se em 1925 com Jenny Klabin (filha de Maurício Freeman Klabin cujo era irmão de Salomão Klabin, portando Lasar casou-se com a sobrinha do seu cunhado) com quem teve os filhos Maurício Klabin Segall (que se casaria nos anos 50 com a atriz Beatriz de Toledo, posteriormente Beatriz Segall) e Oscar Klabin Segall. Nessa época, passou a viver com a família em Paris, onde se dedicou também à escultura. Suas obras nessa fase remetem à atmosfera familiar e de intimidade.

Em 1932, Segall retornou Brasil, instalando-se em São Paulo na casa projetada pelo arquiteto Gregori Warchavchik, seu concunhado. Essa casa abriga, atualmente, o Museu Lasar Segall. Nesse mesmo ano foi um dos criadores da SPAM - Sociedade Pró-Arte Moderna na capital paulista.

Sua produção na década de 1930 incluiu uma série de paisagens de Campos do Jordão e retratos da pintora Lucy Citti Ferreira. Em 1938, Segall realizou os figurinos para o balé "Sonho de uma Noite de Verão", encenado no Teatro Municipal de São Paulo.

Uma retrospectiva de sua obra no Museu Nacional de Belas Artes, no Rio de Janeiro, foi realizada em 1943. Nesse mesmo ano, foi publicado um álbum com textos de Mário de Andrade, Manuel Bandeira e Jorge de Lima.

Em 1951, Segall realizou uma exposição no Museu de Arte de São Paulo. Três anos depois, criou os figurinos e cenários do balé "O Mandarim Maravilhoso".

O Museu Nacional de Arte Moderna preparou uma grande retrospectiva de sua obra em 1957, em Paris. Lasar Segall morreu nesse mesmo ano, de problemas cardíacos, em sua casa, aos 66 anos.

O Museu Lasar Segall, idealizado por Jenny Klabin Segall – viúva de Lasar Segall – foi criado como uma associação civil sem fins lucrativos, em 1967, por seus filhos Mauricio e Oscar. Está instalado na antiga residência e ateliê do artista, projetados em 1932, por seu concunhado, o arquiteto de origem russa Gregori Warchavchik que era casado com Mina Klabin (irmã de Jenny Klabin) cunhada de Lasar.

Em 1985, o Museu foi incorporado à Fundação Nacional Pró-Memória, integrou até 2009 o Instituto do Patrimônio Histórico e Artístico Nacional – IPHAN do Ministério da Cultura , como unidade especial. A partir de 2010 converte-se em uma das unidades museológicas do recém criado Instituto Brasileiro de Museus (IBRAM), Ministério da Cultura.

Além de seu acervo museológico, o Museu constitui-se como um centro de atividades culturais, oferecendo programas de visitas monitoradas para escolas, cursos e oficinas nas áreas de gravura, fotografia e criação literária, programação de cinema. Abriga a Biblioteca Jenny Klabin Segall, que mantém acervo único nas áreas das Artes do Espetáculo (Cinema, Teatro, Rádio e Televisão, Dança, Ópera e Circo) e de Fotografia. A Biblioteca, ainda, possui a mais completa documentação sobre a vida e a obra de Lasar Segall.

O Museu, como órgão federal, é apoiado pela Associação Cultural de Amigos do Museu Lasar Segall – ACAMLS, uma sociedade civil sem fins lucrativos, viabilizada pela colaboração de instituições públicas e privadas, além de pessoas físicas que cooperam com o Museu..

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