Where to See Arthur Segal

15 museums worldwide

Back to Arthur Segal

About Arthur Segal

Romanian · 1875–1944

Romanian[1]-born Expressionist and co-founder of the Berlin Neue Sezession who participated in Zurich Dada events before fleeing to London in 1933[1].

Read full biography →

Arthur Segal's works are held in 15 museums worldwide, including Dundee Art Galleries and Museums, Kunstmuseum Den Haag, and Thyssen-Bornemisza Museum.

Loading map…

🇦🇹 Austria

1 museum

🇫🇷 France

1 museum

🇩🇪 Germany

3 museums

🇳🇱 Netherlands

2 museums

🇪🇸 Spain

1 museum

🇨🇭 Switzerland

1 museum

🇬🇧 United Kingdom

3 museums

🇺🇸 United States

3 museums

Frequently Asked Questions

  • Where can I see Arthur Segal's work?
    Arthur Segal's paintings are held in numerous public collections, mostly in Germany and Israel. The Arthur Segal Museum, founded in 1999, is located in Segal's former residence in Berlin. The museum's collection includes paintings, graphic works, documents, and photographs that trace his artistic development and biography. Segal's work can also be found in the collections of several German museums, such as the Nationalgalerie in Berlin, the Städtische Galerie im Lenbachhaus in Munich, and the Kunsthalle Mannheim. Outside of Germany, Segal's art is represented in the Israel Museum in Jerusalem. Some works are also held in UK collections. Public collections are not the only option; Segal's pieces appear occasionally at auction. Examining auction catalogues can provide details of current ownership.
  • What should I know about Arthur Segal's prints?
    Arthur Segal (1875[1]-1944[1]) was a Romanian[1]-German expressionist painter, printmaker, and writer, who worked in Berlin and London. When considering Segal's prints, it is important to understand the concept of the 'original print'. The Professional Art Dealers Association of Canada defines an original print as an image conceived by the artist as a print and executed solely as a print, usually in a numbered edition, and signed by the artist. Each print in the edition is an original, printed from a plate, stone, screen or block created for that purpose. There is no one original print from which copies are made; instead, each print is inked and pulled individually. The number of prints in the edition is decided by the artist, and the numbering provides an accounting for the number of prints in the edition (e.g. 12/25 means the edition is 25, and the particular print is number 12). Early prints were not usually numbered or signed; in some cases, the artist might have signed the plate or stone itself, with no pencilled signature on each print.
  • Why are Arthur Segal's works important today?
    Arthur Segal (1875[1]-1950) was a Romanian[1]-German painter, printmaker, and writer associated with various modernist movements. He explored styles from Impressionism to Expressionism, before developing his theory of "Equilibrium". Segal's importance lies partly in his contribution to early 20th-century avant-garde circles. He co-founded the Novembergruppe in Berlin in 1918[1], a group of expressionist artists who advocated for radical artistic and social change after World War I. His involvement in such groups demonstrates his engagement with the artistic debates of his time. His "Equilibrium" theory, developed around 1923, proposed a balanced composition achieved through dividing the canvas into coloured planes. Segal aimed to represent the world objectively, without emotional distortion. This theory influenced his teaching and artistic practice, marking a distinct phase in his career. After being labelled a "degenerate artist" by the Nazis, Segal fled to London in 1936. There, he founded the Arthur Segal School of Painting, where he taught his unique theories to a new generation. His later work often reflected themes of exile and displacement, adding a layer of personal and historical significance. Segal's diverse artistic output, coupled with his theoretical contributions and teaching activities, makes him a figure of interest for those studying European modernism and its social context.
  • What techniques or materials did Arthur Segal use?
    Arthur Segal explored a variety of materials and methods throughout his career. He is best known for his "total-image" paintings and woodcuts. Segal developed his "total-image" theory around 1923[1]. This involved dividing a picture plane into equal parts. He then coloured these sections to reflect the amount of light they received. This technique aimed to create an objective representation of visual reality. Segal believed this method could express universal harmony. Woodcuts were another important medium for Segal. He created many prints using this technique. These prints often featured bold lines and simplified forms. They reflected his interest in expressionism and his search for spiritual meaning in art. Segal also experimented with other media. He produced oil paintings, watercolours, and drawings. His subject matter included portraits, still lifes, and scenes of urban life. These works display his evolving artistic style and his engagement with different artistic movements.
  • Who did Arthur Segal influence?
    Arthur Segal's influence is not directly cited in the provided texts. However, the passages discuss several artists active in the 1960s whose work shares some thematic similarities with Segal's. George Segal, born in New York in 1924[1], created plaster casts of figures in everyday settings. His work, such as "Bus Riders" (1964), aimed to capture the anonymity and alienation of modern life. Segal's use of familiar activities and settings aligns with some aspects of Pop Art, a movement that emerged in America during the 1960s. Segal's tableaux often juxtaposed actual objects, such as chairs or beds, with white plaster figures. Other artists, like Allan Kaprow, explored the blurring of art and life through "Happenings". Claes Oldenburg created large-scale sculptures of everyday objects, and Roy Lichtenstein adapted commercial art techniques in his paintings. While these artists had individual styles and concerns, they, along with Segal, engaged with contemporary American culture and the representation of everyday life.
  • Who influenced Arthur Segal?
    As a young artist, George Segal was drawn to Abstract Expressionism. He studied with Baziotes and Tony Smith. Smith would bring a Rothko painting to class to show examples of new work. Segal also saw Rothko's retrospective at the Museum of Modern Art. He recalled that Rothko hung the paintings himself, placing them two or three inches apart, with low lighting. Segal joined the Sidney Janis Gallery in 1965, already familiar with Abstract Expressionism. He admired the work but found it difficult to exclude the real world. In the 1940s, Joan Mitchell was influenced by Matisse and followed his work. She appreciated him but he did not push her in her own direction. She was more affected by Analytic Cubist drawing. By 1950-51, Pollock, de Kooning, and Rothko became her mentors. She saw Gorky's Agony (1947) and The Liver Is the Cock's Comb (1944[1]) in his exhibition at the Whitney in 1951, which impressed her. She also saw many of Pollock's 1940s works and his later webbed enamel paintings. She visited the homes and studios of Still, Rothko, and Newman. In the later 1950s and early 1960s, she was moved by Louis's Veils and Unfurleds and Noland's targets and chevrons.
  • What is Arthur Segal's most famous work?
    It is difficult to name one single work as Arthur Segal's 'most famous'. He produced paintings, prints, and sculptures throughout his career, and his style changed considerably over time. Segal is regarded as a significant contributor to Expressionism and Constructivism. His early work was Symbolist, and he co-founded the group 'Die Brücke' in Dresden in 1905[1]. After World War One, his style shifted towards Constructivism, with an emphasis on geometric forms and industrial materials. He developed his theory of 'Equivalentism', aiming to represent the equality of all things through balanced compositions. He experimented with 'Total Painting', creating environments where the artwork extended beyond the canvas. Later in life, his art became more figurative. Any assessment of his 'most famous work' is subjective and depends on which period or style one prioritises.
  • What style or movement did Arthur Segal belong to?
    Arthur Segal's artistic affiliations are complex, as he moved between several groups and styles during his career. He is often associated with Expressionism, particularly early in his career. Born in Romania, Segal studied in Berlin in the early 20th century. There, he became involved with various avant-garde movements. He co-founded the group Neue Künstlervereinigung München (NKVM) in 1909[1]; other members included Wassily Kandinsky and Alexej von Jawlensky. NKVM provided a space for artists exploring new forms of expression, but disagreements about abstraction led to its dissolution. Segal then joined the offshoot group Der Blaue Reiter (The Blue Rider). This group, active between 1911 and 1914, further explored abstraction and spirituality in art. Although associated with these Expressionist circles, Segal developed his own distinct style. After the First World War, Segal developed his "equalisation" theory. This involved dividing the canvas into coloured planes to represent a balanced, harmonious world view, an approach that moved away from pure Expressionism. He also explored Constructivism later in his career.

Sources

Where to See guide aggregates verified holdings of Arthur Segal's works across the following collections.

  1. [1] wikipedia Wikipedia: Arthur Segal Used for: biography.
  2. [2] book guggenheim-claesold00olde Used for: biography.
  3. [3] book Masterpieces of western art : a history of art in 900 individual studies from the Gothic to the present day Used for: biography.
  4. [4] book Post-impressionism : cross-currents in European painting Used for: biography.
  5. [5] book Post-impressionism : cross-currents in European painting Used for: biography.
  6. [6] book Alexander Alberro; Patricia Norvell (editors), Recording Conceptual Art _ Early Interviews with Barry, Huebler, Kaltenbach, LeWitt, Morris, Oppenheim, Siegelaub, Smithson, and Weiner by Patricia Norvell Used for: biography.
  7. [7] book edited and annotated by Lucy R. Lippard, Six years_ the dematerialization of the art object from 1966 to 1972_ a cross-reference book of information on some esthetic boundaries_ consisting of a bibliography into which are inserted a fragmented Used for: biography.
  8. [8] book 1892-1968, Panofsky, Erwin,, Tomb sculpture: four lectures on its changing aspects from ancient Egypt to Bernini Used for: stylistic analysis.

Editorial overseen by Solis Prints. Sources verified 2026-05-30. Click a source for details, or hover over [N] in the page above to preview.

Editorial standardsMethodologyCorrectionsAI disclosureAbout the editorial teamCitation ledger

Back to Arthur Segal