George Segal (American, 1924–2000) is best known for his naturalistic plaster sculptures and environments. In his work, he often reflects on ordinary situations in which the individual is shown in a state of isolation amidst an anonymous society. The use of plaster and the life-sized scale of Segal’s sculptures produce an intense, realistic effect in his work; at the same time, the color of the all-white plaster neutralizes and alienates his human subjects from their everyday motifs, creating scenes with a more cinematic character. Segal was born in New York, and his interest in socio-political and psychological themes was well developed in his early paintings and drawings, which he made directly after his studies at Cooper Union and Rutgers University in the 1940s. In 1958 he began to experiment with sculpture, and a solo show at the Green Gallery in 1960 featured his first plaster figures. From 1961 on, he applied plaster bandages directly to the human form in his works. A turning point in his career was the discovery of a new sculptural technique, in which he created full environments for his body casts by adding everyday objects such as a chair, a window frame, or a table to his work. Segal became known as part of the Pop Art movement, but maintained a distinctive style, incorporating relationships to personal experience and human values in his work. Segal, who took part at documenta IV and VI in Kassel, Germany, is widely exhibited in the United States and Europe. In the early 1980s, he continued to create still lifes, and in his last years he worked with black-and-white photographs of the streets of New York and New Jersey. He actively sculpted his famous life-sized environments until his death in 2000.