1924, Arthur Segal, Street in Helgoland II -- Metropolitan Museum of Art (New York)
From the museum label: This painting's uniformly rhythmic surface--which extends to the frame--reflects Segal's interest in "prismatisch" (prismatic) painting, an approach that uses color to mimic the optical effects of reflected light in order to create the appearance of three-dimensionality. Segal gave each area of the composition equal pictorial value. He developed this technique, which he called "equi-balance," in 1916 while living in neutral Switzerland during World War I; one might read a wartime desire for peace in the artist's attempt at compositional unity and harmony.
1924, Arthur Segal, Street in Helgoland II -- Metropolitan Museum of Art (New York)
From the museum label: This painting's uniformly rhythmic surface--which extends to the frame--reflects Segal's interest in "prismatisch" (prismatic) painting, an approach that uses color to mimic the optical effects of reflected light in order to create the appearance of three-dimensionality. Segal gave each area of the composition equal pictorial value. He developed this technique, which he called "equi-balance," in 1916 while living in neutral Switzerland during World War I; one might read a wartime desire for peace in the artist's attempt at compositional unity and harmony.