By Museu Lasar Segall

Emigrant Ship

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The exhibition presents the process of creating the work Ship of Emigrants with reproductions of drawings, engravings, photographs and the work that is one of the greatest treasures of the collection of the Museum.

Navio de emigrantes (1939/1941) by Lasar SegallMuseu Lasar Segall

Emigrant Ship

This painting of Segall, a great allegory of emigration, is the center of this exhibition. The display also includes the annotated drawings, engravings, sculptures, photographs, and documents related to this theme and to the artist's creative process.

Navio de emigrantes (detalhe), Lasar Segall, 1939 - 1941, From the collection of: Museu Lasar Segall
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Navio de emigrantes (detalhe), Lasar Segall, 1939 - 1941, From the collection of: Museu Lasar Segall
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Navio de emigrantes (detalhe), Lasar Segall, 1939 - 1941, From the collection of: Museu Lasar Segall
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Navio de emigrantes (detalhe), Lasar Segall, 1939 - 1941, From the collection of: Museu Lasar Segall
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Navio de emigrantes (detalhe), Lasar Segall, 1939 - 1941, From the collection of: Museu Lasar Segall
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Navio de emigrantes (detalhe), Lasar Segall, 1939 - 1941, From the collection of: Museu Lasar Segall
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Navio de emigrantes (detalhe), Lasar Segall, 1939 - 1941, From the collection of: Museu Lasar Segall
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Navio de emigrantes (1939/1941) by Lasar SegallMuseu Lasar Segall

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The fate of Segall, who traveled across enormous geographic, cultural, and emotional distances to become a Brazilian artist, crosses paths with that of the emigrants honored in this canvas, a passionate testimony of 20th century history.

Retrato de Lucy I (1935) by Lasar SegallMuseu Lasar Segall

Lucy and the Ship

In 1935, Mário de Andrade introduced the young painter, Lucy Citti Ferreira, to Segall. Lucy began to attend the artist's studio, working alongside him and assisting in the documentation of his work.

Despedida de Lucy, não identificado, 1947, From the collection of: Museu Lasar Segall
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Navio de emigrantes (detalhe), Lasar Segall, 1939 - 1941, From the collection of: Museu Lasar Segall
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Lucy (1945) by Hildegard RosenthalMuseu Lasar Segall

For more than ten years, she was Segall's favorite model. He was impressed by the expressive power of her countenance, especially the deep eyes and arched eyebrows.

Navio de emigrantes (detalhe), Lasar Segall, 1939 - 1941, From the collection of: Museu Lasar Segall
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Lucy Citti Ferreira, Lasar Segall, 1946, From the collection of: Museu Lasar Segall
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Navio de emigrantes (detalhe), Lasar Segall, 1939 - 1941, From the collection of: Museu Lasar Segall
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Navio de emigrantes (detalhe), Lasar Segall, 1939 - 1941, From the collection of: Museu Lasar Segall
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Navio de emigrantes (detalhe), Lasar Segall, 1939 - 1941, From the collection of: Museu Lasar Segall
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Navio de emigrantes (detalhe), Lasar Segall, 1939 - 1941, From the collection of: Museu Lasar Segall
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Lucy is present on the Ship, as she was photographed by Segall himself in innumerable poses, then transposed into the multiple characters of the painting.

Lucy Citti Ferreira, não identificado, sem data, From the collection of: Museu Lasar Segall
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Navio de emigrantes (detalhe), Lasar Segall, 1939 - 1941, From the collection of: Museu Lasar Segall
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Lucy Citti Ferreira, Lasar Segall, 1945, From the collection of: Museu Lasar Segall
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Navio de emigrantes (detalhe), Lasar Segall, 1939 - 1941, From the collection of: Museu Lasar Segall
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Navio de emigrantes (detalhe), Lasar Segall, 1939 - 1941, From the collection of: Museu Lasar Segall
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Navio de emigrantes (detalhe) (1939 - 1941) by Lasar SegallMuseu Lasar Segall

The Emigrants

For the first time in my life I saw the sea and ships. I saw how men of all nationalities climbed aboard these ships and went on to distant and unknown worlds, driven by destiny and something else... I did not let go of my pencil for a moment, which I used continually to fix my traveling companions and models on paper, these emigrants in whom the whole of humanity seems to be reflected.

Lasar Segall "My Memories" (1950).

Navio de emigrantes, não identificado, sem data, From the collection of: Museu Lasar Segall
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Grupo de emigrantes no tombadilho (1928) by Lasar SegallMuseu Lasar Segall

Desenhos de anotação "emigrantes" (c.1928) by Lasar SegallMuseu Lasar Segall

Emigrantes no tombadilho, Lasar Segall, 1929, From the collection of: Museu Lasar Segall
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His diaries gave origin in the end of the 1920s to the series of engravings "Emigrantes," and during the Second World War, to the painting "Navio de emigrantes," developed between 1939 and 1942.

Navio de emigrantes(detalhe), não identificado, sem data, From the collection of: Museu Lasar Segall
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Segall's destiny -- which contemplates he passing through enormous geographic, cultural and affective distances -- to become a Brazilian artist intersects with all emigrants honored in the work that is a vehement testimony of 20's century history.

Emigrantes sentados sobre caixas, Lasar Segall, c. 1926, From the collection of: Museu Lasar Segall
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No convés do Oceania (1937) by Lasar SegallMuseu Lasar Segall

Desenhos de anotação "emigrantes", Lasar Segall, c.1938, From the collection of: Museu Lasar Segall
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Grupo de emigrantes I, Lasar Segall, 1928, From the collection of: Museu Lasar Segall
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Grupo de emigrantes III, Lasar Segall, 1928, From the collection of: Museu Lasar Segall
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Emigrantes com lua, Lasar Segall, c. 1926, From the collection of: Museu Lasar Segall
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Navio com emigrantes, não identificado, sem data, From the collection of: Museu Lasar Segall
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'Oceania' (c.1938) by Lasar SegallMuseu Lasar Segall

Emigrante debruçado na amurada, Lasar Segall, 1929, From the collection of: Museu Lasar Segall
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Navio com emigrantes, não identificado, sem data, From the collection of: Museu Lasar Segall
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Emigrantes (1934) by Lasar SegallMuseu Lasar Segall

Navio de emigrantes (detalhe) (1939 - 1941) by Lasar SegallMuseu Lasar Segall

The Ship

A ship is a large vessel, usually with one or more decks, which is capable of carrying cargo and/or passengers. In the "Navio de Emigrantes," Segall creates curious dialogues between the human forms and details of the ship, such as the circular vents, which look like eyeless heads watching the world around them.

Aspectos do Navio Andes, não identificado, 1953, From the collection of: Museu Lasar Segall
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Três gaivotas e respiradouros (1928) by Lasar SegallMuseu Lasar Segall

Chaminés de navio, não identificado, sem data, From the collection of: Museu Lasar Segall
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Cabeça de marinheiro e chaminé, Lasar Segall, 1930, From the collection of: Museu Lasar Segall
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Convés de navio com passageiros (sem data) by LaurensonMuseu Lasar Segall

Chaminé de Navio (1928) by Lasar SegallMuseu Lasar Segall

Desenhos de anotação "navio" (c.1938) by Lasar SegallMuseu Lasar Segall

The biography of Lasar Segall (1891–1957) is marked by long sea voyages and changes in direction. At the age of fifteen, he left his hometown of Vilnius in Lithuania to pursue his artistic training in Germany. From his first voyage to Brazil in December 1912, he recorded the experiences he had of living aboard ships in small sketch books.

Casal de emigrantes no convés (c. 1928) by Lasar SegallMuseu Lasar Segall

Marinheiros limpando chaminés (sem data) by não identificadoMuseu Lasar Segall

Marinheiro e chaminé, Lasar Segall, 1929, From the collection of: Museu Lasar Segall
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Desenhos de anotação "navio" (c.1938) by Lasar SegallMuseu Lasar Segall

Mastro do Navio Andes, não identificado, 1953, From the collection of: Museu Lasar Segall
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Marinheiro 121 (1928) by Lasar SegallMuseu Lasar Segall

Lasar Segall em viagem aos Estados Unidos, não identificado, 1948, From the collection of: Museu Lasar Segall
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Navio 'Hamburg', Lasar Segall, c.1928, From the collection of: Museu Lasar Segall
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Navio 'Oceania', Lasar Segall, c.1938, From the collection of: Museu Lasar Segall
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Dois marinheiros acompanhados (1929) by Lasar SegallMuseu Lasar Segall

Sailors

Sailors frequently appear in the work of Segall in the subjects connected to the "Emigration" series. In the engraving to the side, two aspects caught Segall's attention: the harbor quays with their floating population of sailors and prostitutes, and the imposing landscape of the Botanical Garden, with rows of imperial palms.

Homem e mulheres do Mangue (1929) by Lasar SegallMuseu Lasar Segall

Marinheiro com cachimbo (c.1928) by Lasar SegallMuseu Lasar Segall

Marinheiro deitado com cachimbo, Lasar Segall, 1930, From the collection of: Museu Lasar Segall
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Marinheiros a bordo (1930 - 1930) by Lasar SegallMuseu Lasar Segall

Marinheiro e emigrantes (1930) by Lasar SegallMuseu Lasar Segall

Desenhos de anotação "marinheiros" (c.1938) by Lasar SegallMuseu Lasar Segall

No navio Cap. Polonio, Lasar Segall, 1925, From the collection of: Museu Lasar Segall
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Marinheiro com acordeão (c.1928) by Lasar SegallMuseu Lasar Segall

Marinheiro e emigrantes no convés, Lasar Segall, c.1928, From the collection of: Museu Lasar Segall
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Marinheiro e duas mulheres (1928) by Lasar SegallMuseu Lasar Segall

Marinheiro e chaminés (1928) by Lasar SegallMuseu Lasar Segall

Estudo para ilustração do livro ''Poemas negros'' de Jorge de Lima (c.1947) by Lasar SegallMuseu Lasar Segall

Terceira Classe (detalhe) (1928) by Lasar SegallMuseu Lasar Segall

1st and 3rd Class

A first-class passenger, Segall always felt a sense of pathos for the dispossessed. This can be seen both in Germany after World War I and in Brazil, in the Mangue series, for example, which joins together marginalization and prostitution.

Navio de emigrantes, não identificado, sem data, From the collection of: Museu Lasar Segall
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Emigrantes (1929) by Lasar SegallMuseu Lasar Segall

Although Segall himself was not one of the passengers of third class, his status as a Russian Jew and emigrant made him sensitive to the plight of all refugees

Terceira Classe (1928) by Lasar SegallMuseu Lasar Segall

Lasar Segall e Margarete a caminho do Brasil, não identificado, nov. 1923, From the collection of: Museu Lasar Segall
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Although Segall himself was not one of the passengers of third class, his status as a Russian Jew and emigrant made him sensitive to the plight of all refugees

Primeira classe (c.1929) by Lasar SegallMuseu Lasar Segall

Estudo para 1ª classe (c.1927) by Lasar SegallMuseu Lasar Segall

Desenhos de anotação "personagens" (c.1938) by Lasar SegallMuseu Lasar Segall

Segall's displacements between the Old and New World across the Atlantic fueled his experience of the ocean's immensity in contrast to the fragility of human destiny.

Convés de navio (sem data) by não identificadoMuseu Lasar Segall

Piscina no convés de navio, não identificado, sem data, From the collection of: Museu Lasar Segall
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Convés de navio, não identificado, sem data, From the collection of: Museu Lasar Segall
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Lasar Segall e Brecheret, não identificado, 1932, From the collection of: Museu Lasar Segall
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Lasar Segall, não identificado, 1937, From the collection of: Museu Lasar Segall
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Segall, Jenny, Mauricio e Oscar em viagem de retorno ao Brasil a bordo do navio Cap. Arcona, não identificado, 1932, From the collection of: Museu Lasar Segall
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Navio de emigrantes (detalhe) (1939 - 1941) by Lasar SegallMuseu Lasar Segall

Landscapes

The "Navio de Emigrantes" canvas is, in this sense, a grand allegory of emigration, much more than just a maritime landscape. The fate of Segall, who traveled across enormous geographic, cultural, and emotional distances to become a Brazilian artist, crosses paths with that of all the emigrants honored in this canvas, a passionate testimony of 20th century history.

Mar (c.1937) by Lasar SegallMuseu Lasar Segall

Gaivotas e mar (c.1926) by Lasar SegallMuseu Lasar Segall

Gaivotas e mar, não identificado, sem data, From the collection of: Museu Lasar Segall
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Primeira classe (detalhe) (c.1929) by Lasar SegallMuseu Lasar Segall

Marinheiro e chaminé, Lasar Segall, 1929, From the collection of: Museu Lasar Segall
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Segall's journeys between the Old and New World across the Atlantic fueled his experience of the ocean's immensity in contrast to the fragility of human destiny.

Desenhos de anotação "paisagens" (c.1938) by Lasar SegallMuseu Lasar Segall

Por de sol (1928) by Lasar SegallMuseu Lasar Segall

Marinheiro deitado com cachimbo (detalhe) (1930) by Lasar SegallMuseu Lasar Segall

Paisagem com montanhas e mar na Suiça (1930) by Lasar SegallMuseu Lasar Segall

Mar e navios (c.1928) by Lasar SegallMuseu Lasar Segall

Navio e mar (sem data) by não identificadoMuseu Lasar Segall

Mar 'Cap Polonio' (1925) by Lasar SegallMuseu Lasar Segall

Mar e nuvens (1925) by Lasar SegallMuseu Lasar Segall

Ondas do mar (c.1928) by Lasar SegallMuseu Lasar Segall

Reflexos do mar (c.1928) by Lasar SegallMuseu Lasar Segall

Linhas sugerindo mar (c.1935) by Lasar SegallMuseu Lasar Segall

Navio de emigrantes (detalhe) (1939 - 1941) by Lasar SegallMuseu Lasar Segall

A Current Topic

Segall scholars, beginning with Mário de Andrade and Jorge Coli, frequently point out that there are two planes in the "Navio de Emigrantes:" the architecture of the whole, with its straight lines, angles, and visual reference points, such as the large vent tubes and the individualization of an infinite number of human figures huddled in the bow of the ship.

Emigrantes no tombadilho, Lasar Segall, 1929, From the collection of: Museu Lasar Segall
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Segall, with his intimate vision gives life to each of these figures—whether alone, in pairs, or in groups—with great aesthetic care. That is why "Navio de Emigrantes" is a picture that deals with complexity, combining the revealing allegory of the message of the whole with the individualized perspectives of human beings, caught in the bow of the ship.

Gaivotas e mar, Lasar Segall, c.1926, From the collection of: Museu Lasar Segall
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Segall stated that his picture was symbolic rather than documentary. It was, therefore, outside of time and space. Hence the allegorical significance of the two doves at the top left corner of the "Navio de Emigrantes" that simultaneously reveal and hide, evoking, but not asserting, the possibility of land and hope. For this reason these two doves are indicative of our own time, marked by so many migrations, by undocumented refugees facing the new Cape Chaunar of our borders.

Lasar SegallMuseu Lasar Segall

Lasar Segall

Lasar Segall (Vilnius, Lithuania, 1889–Sao Paulo, SP, 1957), painter, engraver, sculptor, and designer of Jewish origin. He starts his art studies in 1905 at the Drawing Academy of Master Antokolski in Vilnius, Lithuania. He moves to Germany in 1906 and studies at the School of Applied Arts and the Imperial Academy of Fine Arts in Berlin. In 1910, he goes to Dresden, where he attends the Academy of Fine Arts. In this initial period in the city, he becomes more familiar with impressionist painting, and holds his first individual exhibition in the Gurlitt Gallery in 1910. At the end of 1912, he comes to Brazil and, the following year, exhibits in São Paulo and Campinas. He returns to Europe in 1913 and, from 1917, becomes involved with the new expressionist generation in Dresden. In 1919, he founds the Dresdner Secession Group 1919 with Otto Dix (1891–1969), Conrad Felixmüller (1897–1977), Otto Lange (1897–1944), and others. This group brings together the city's expressionist artists. In 1921, he publishes Bubu, an album of lithographs, in 1922, and Memories of Vilnius in 1917, with etchings. He returns to Brazil, where he settles in São Paulo, at the end of 1923. In the São Paulo state capital, Lasar Segall becomes one of the protagonists of the modern art scene, considered a representative of the European avant-gardes. In 1924, he made the decorations for the futuristic ball of the Automobile Club and for the modernist Pavilion of Olívia Guedes Penteado (1872–1934). He is one of the founders of the Pro Modern Art Society (SPAM), in 1932, of which he becomes director until 1935. Ten years after his death, in 1967, the house where he lived in Vila Mariana, in São Paulo, is transformed into the Lasar Segall Museum.

Credits: Story

Exposição Navio de Emigrantes


Museu Lasar Segall
Presidente da República: Michel Temer
Ministro da Cultura: Roberto Freire
Presidente do IBRAM: Marcelo Mattos Araújo

Diretoria do Museu Lasar Segall
Diretor Emérito: Mauricio Segall
Diretoria: Jorge Schwartz | Marcelo Monzani

Exposição
Coordenação: Marcelo Monzani
Concepção: Pierina Camargo
Produção: Ademir Maschio
Estagiários: Gabriel Felix e Guilherme Dias

Textos de Celso Lafer (Um tema atual), Jorge Schwartz (1ª e 3ª classes), Lasar Segall (Os emigrantes) e Vera d'Horta (Navio de emigrantes, A obra, Lucy e o navio, Marinheiros e Paisagens)

Credits: All media
The story featured may in some cases have been created by an independent third party and may not always represent the views of the institutions, listed below, who have supplied the content.