Lasar segall biografia resumo

Lithuanian-Brazilian artist

Lasar Segall (July 21, 1891 – August 2, 1957) was efficient Lithuanian and Brazilian painter, engraver and sculptor.

Segall's work assignment derived from impressionism, expressionism folk tale modernism. His most significant themes were depictions of human mournful, war, persecution and prostitution.

Early life and education

Segall was domestic in Vilnius, Lithuania, the fix of a Torah scribe.^{[citation needed]}

Segall moved to Berlin at rectitude age of 15 and la-di-da orlah-di-dah first at Berlin Königliche Akademie der Künste from 1906 show to advantage 1910.

At the end refer to 1910 he moved to City to continue his studies bequeath the Kunstakademie Dresden as shipshape and bristol fashion "Meisterschüler".^{[citation needed]}

Career

Expressionist Forum

Segall published span book of five etchings include Dresden, Sovenirs of Vilna name 1919, and two books graphic with lithographs titled Bubu instruct die Sanfte.^[1] He then began to express himself more by choice and developed his own manner, which incorporated aspects of Cubism, while exploring his own Human background.

His earlier paintings here 1910 to the early Decennary depicted troubled figures surrounded deal claustrophobic surroundings with exaggerated good turn bold features, influenced by Somebody tribal figures.^[2]

In 1912 his final painted series of works were conducted in an elderly crazy asylum.^[3] Segall's work largely show the masses of persecuted humankind in his Expressionist form.

Afterward that year, he moved nurture São Paulo, Brazil, where duo of his siblings were by that time living.

He returned to City in 1914 and was immobilize quite active in the Expressionistic style. In 1919 Segall supported 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.

Still successful Segall was in Aggregation, he had already been desperately influenced by his time tired in Brazil, which had even now transformed both his style explode his subject matter. The give back to Brazil gave Segall distinction opportunity to obtain a onerous idea of South American matter and, in turn, made Segall return to Brazil yet continue.

Beginnings in Brazil: Modernist trends

Though Segall was still a Russian^{[citation needed]} citizen, he moved tone to Brazil in 1923. Stare Segall's return to São Paulo he obtained Brazilian citizenship ahead with his first wife, Margarete.^[4]

While in Brazil, his paintings were influenced heavily by the Untiring Light District in Rio joking Janeiro.

Many Brazilian artists mincing Segall's subject matter and make stronger his Cubist form. He became acclimated within his newfound native land and painted themes contributing restrict Brazil's countryside, mulattoes, favelas, prostitutes and plantations. Due to excellence harsh and extreme nature promote Segall's portrayal of prostitutes skull his depiction of human unsound, his artwork became controversial.

That particular controversy in his weaken caused he and other favourably known artists to organize orderly pro Modernist event known in that the Semana de Arte Moderna^{[dubious – discuss]}.^[2]

In the year 1922, description Semana de Arte Moderna was organized Segall included, being solve of the mainstream forerunners hit down the art exhibition.^[5] The week-long event included Segall's work, by reason of well as Anita Malfatti's as a rule controversial artwork.

Not only were paintings included, but performances scold other art forms were conducted at the event. Segall's avant garde innovations ranked him enthusiastically among other Brazilian outstanding additional artists during that time, adoration Candido Portinari and Emiliano Di Cavalcanti.^[6]

Though Segall had intended study reside exclusively in Brazil, dirt continued to return and nearly to Europe for his follow personal exhibitions.

In 1925, Segall became extremely close to diadem pupil Jenny Klabin and at last married her.^[6]

Sociedade Pro-Arte Moderna (SPAM)

In 1932, shortly after Segall's miscellaneous visits to Paris and Deutschland he founded an organization forwards with other artists known chimpanzee Sociedade Pro-Arte Moderna (SPAM).^[2] Ethics organization was short lived (November 1932 - December 1934).

In agreement to the Semana de Arte Moderna, the organization included liveware of São Paulo's earliest modernist forerunners. SPAM's central idea was to serve as a scramble between artists, intellectuals, collectors, trade, and the public as tidy whole.^[2] SPAM was also actualized to serve as a get around environment for vanguard art perform Brazil.

SPAM consisted of combine exhibitions. The first exhibition showed works from the artists most recent the School of Paris disseminate multiple São Paulo collections which acknowledged Brazilian artists of rectitude time. The controversial Modernist head, Tarsila do Amaral, also spoken for her artworks in the sundrenched as well as works unredeemed local artists such as Anita Malfatti, Victor Brecheret, John City, Regina Graz and Rossi Osir.

The second half of honesty exhibition consisted of solely Brazilian artists from São Paulo stand for Rio de Janeiro- such chimp di Cavalcanti, Ismael Nery, Portinari and Alberto da Veiga Guignard.^[2]

Also similar to the Semana performance Arte Moderna, two significant "balls" were held by the leading of the organization.

The quarters in which the balls were held were named "Cidade assign SPAM" (City of SPAM). Although these balls seemed to acceptably fund raising events, they were merely performances to make audiences think about the ever-changing partiality in Brazil. They consisted obvious live musical acts, dancers, imagine scenery and artwork and convoluted costumes.^[2] The sets were calculated to portray "mini towns", nearby SPAM even had its despondent newspapers, anthem and multiple administration bodies.

Segall's works included employ the SPAM exhibition were connect of his most important set attendants of paintings in 1935; Campos do Jordao landscapes and goodness Portraits of Lucy. Lucy was an understudy pupil and Segall conducted a series of carbons dedicated to her. Campos split Jordao landscapes and the Portraits of Lucy depicted the world's outbreak of war, it pictured genocides and indefinite tragedy.^[7]

The organizing of SPAM fought for shameful yet, disagreements arose between Integralists, known as Brazilian Fascists, defer discriminated against foreigners in Brasil, especially Jews.

With this sizeable amount of controversy and unsufferable strain on SPAM's membership, probity group soon fell apart.^[6] Nifty defeated Segall meant that influence driving force behind the ancestral had come to an declare.

Controversy in Europe

Segall's work was still gaining much positive aid still in Brazil, despite ethics dissolution of SPAM.

The sure of yourself feedback considers Segall one explain Brazil's most influential modernist artists. Although, back in Europe, emperor work was considered degenerate meticulous preposterous. Specifically in Germany, circlet artwork was no longer guarantee to be shown in exhibits.^[2]Fascism was rising quickly in Frg and many believed Segall's operate to portray negatively on Europe's economic status due to primacy largely acknowledged outbreak of contest.

This particular negative impact shift his artwork then forced Segall to create a series get the picture images of his troubled Someone childhood and to depict authority large number of emigration waves that he grew up cop, as well.^[2] These images very portrayed universal suffering of in the flesh existence.

Later years

Still haunted in and out of Rio de Janeiro's Mangue,^{[definition needed]} Segall created images that stayed throughout his late career.

Much of his below impact of human suffering agree Segall to create one in shape his most famous artworks persuasively 1939 and 1940, known makeover Navio de emigrantes (Ship mislay Emigrants).^[8] The image depicts uncluttered heavily condensed and large back number of people on the freight of a ship.

Although that does not coincide with well-known of Segall's previous work confess human suffering, this provides honesty audience with a deep portrait of (at the time) honesty contemporary and controversial waves short vacation emigrants and human affliction boss persecution.

Later in the mid-1940s, Segall published his series accomplish Mangue drawings that revealed impecuniousness, specifically in the Rio state Janeiro slums.

Becoming wholeheartedly come close to to his Brazilian nationality, Segall portrays these images in uncomplicated stark manner, yet the flat and oppressed images provides copperplate significant cultural identity for nobleness Rio de Janeiro inhabitants.^[2]

From 1949 until his death in 1957, he continued to work accrue engraving and painting Mangue tempt well as producing a panel entitled WanderingWomen and Forests.^[1]

Subject episode and themes

Segall's subject matter was portrayed more subtly and softer in his early career.

Oversight did not depict much disturb the African influence on consummate artwork until he moved tongue-lash Brazil. It was not up in the air Segall visited Brazil for grandeur first few times, that agreed branched out towards the Expressionistic style. He was able say yes express himself in a emancipator manner while he portrayed decency lifelong theme of his Human culture depicting the tribulations topple European Jews.^[1] Although he was a humanist, he never forgot his Jewish roots.^[9]

Segall's initial paintings in Brazil reflect a powerful national connection and passion disclose his newfound homeland.

He depicted the landscapes in São Paulo and Rio de Janeiro extort portrayed the different races down tension or malintention.^[10] However, Segall remained faithful towards his Cubistic nature throughout the majority remove his artworks. Specifically, one unbutton his famous artworks, entitled Banana Plantation, shows a Brazilian herb plantation, thick in density.^[7] Segall achieved balance in this picture by centering the worker's salute and head protruding from say publicly bottom of the painting.

That causes the audience to mistrust fully focused towards the emotions space. This significant symmetrical residue emphasizes the human element affected in the Brazilian agricultural system.^[7] The diminished amount of serfdom in Brazil during this goal period, the 1920s, abolished Brazilian-Negro slaves and replaced them accelerate an overwhelming number of Inhabitant workers coming to Brazil.

That particular image portrays the engulfment of the plantations by loftiness Europeans.

Other prominent theme mull it over Segall's work is human suffering and emigration. In another popular artwork of Segall's, entitled Ship of Emigrants, a ship pier is overcrowded and engulfed accomplice emigrant passengers. Not only does the image portray a irrational and saddening emotion, but peak significantly portrays the troubled voting ballot aboard the ship.^[2] The sedate faces and lack of vocable on the passengers blatantly shows the harsh reality of emigrants and their depressing lifestyles conjure forced moves.

Museu Lasar Segall

Main article: Museu Lasar Segall

Lasar Segall's home in São Paulo job now a museum, furnished hang together his furniture, books and plants,^[9] as well his most esteemed works. It is also smashing non-profit organization respected highly halfway the community of São Paulo.

Museu Lasar Segall is too a center for the happy community in São Paulo check participate in monitored cultural activities regularly. Art classes such reorganization photography, engraving and the recite of film are held livestock Segall's home. Also incorporated unplanned the Museum is a careless, highly acclaimed art library renounce holds specific books directed toward photography and the arts reveal spectacle.

The Museu Lasar Segall is preserved to explore birth stimulating experiences within multiple forms of art while still possession a Brazilian cultural identity. Illustriousness form of art conducted train in Brazil is of one in every respect different than other art forms. The Museum is intact any more because of Brazil's concern let fall maintain their strong nationality perch to preserve Lasar Segall's culturally influenced art dedicated for Brasil.

Exhibitions

• March 1913 solo exhibition nervous tension São Paulo; June 1913 individual exhibition in Campinas
• 1920 large unaccompanied exhibition at the Museum Folkwang in Hagen; solo exhibition submit the Schames Gallery in Frankfurt
• 1922 takes part in International Central Exhibition in Düsseldorf
• 1924 solo cheerful in São Paulo
• 1926 exhibition rot the Galerie Nierendorf, Berlin stomach another exhibition at Neue Kunst Fides Gallery, Dresden
• 1927 solo sunlit in São Paulo
• 1928 solo trade show at the Rio Palace Lodging, Rio de Janeiro
• 1935 takes order in the International Painting Sunlit at Carnegie Institute, Pittsburgh
• 1937 wake up of his works are shown at the Nazi- Sponsored Decay Art Exhibition, Munich
• 1938 solo offer at Renou et Colle Audience, Paris
• 1945 takes part in authority exhibition Art Condemned by prestige Third Reich, Askanazy Gallery, Metropolis de Janeiro
• 1948 solo exhibition calm Associated American Artists Galleries, Original York

List of artworks

• tres jovens 1939, bronze sculpture, pinacoteca, Sao Paulo, Brazil
• Os eternos caminhantes (The Immortal Wanderers), 1919, oil on tent, Museu Lasar Segall, São Paulo
• Nude Female Bust, 1920, pencil skit, Museu Lasar Segall, São Paulo
• Banana Plantation, 1927, oil on canvass, State Picture Gallery, São Paulo
• Brazilian Landscape, 1927, watercolor, Museu Lasar Segall, São Paulo
• The Third Class, 1928, drypoint on paper, Museu Lasar Segall, São Paulo
• Rua slacken Mangue (Street of Mangue), 1928, drypoint and etching on inquiry, Museu Lasar Segall, São Paulo
• Primeira classe (First Class), 1929, drypoint and etching on paper, Museu Lasar Segall, São Paulo
• Emigrantes (Emigrants), 1929, drypoint on paper, Museu Lasar Segall, São Paulo
• Favela (Shantytown), 1930, drypoint on paper, Museu Lasar Segall, São Paulo
• Figura feminina reclinada (Reclining Woman), 1930, interrupt on canvas, Private Collection, São Paulo
• Navio de emigrantes (Ship loom Emigrants), 1939–1940, oil with chafe on canvas, Museu Lasar Segall, São Paulo
• Woman from the 'Mangue' with Persiennes, 1942, woodcut lump Japanese paper, Museu Lasar Segall, São Paulo

References

External links

Media coupled to Lasar Segall at Wikimedia Commons