1. Die objektiven Gesetze (upersönlichen) der Malerei. 1929. 82 pages. Typed

2. Die Rache. 159 pages. Typed and handwritten

3. Tagebuch Eines Schwachen! Das Werk eines Ununterscheidenden. 128 typed pages. Unfreiwillige Gedanken. 1941, Oxford. 85 handwritten pages

4. Erinnerungen. 1939. 253 handwritten pages

5. Jehova's Zweifel an sich und erkennen. 117 handwritten pages. Fluchgebet. 12 handwritten pages

6. Mieze Pize. 203 handwritten pages

7. Exhibition catalogue: A Collection of Woodcuts by Arthur Segal. 1972 Three pamphlets: Everyone can learn to paint; Art in the Home; The Amateur

1. Zur Psychologie des Geheimnisses. 138 handwritten pages. Interniert. Eine psychologische Selbstanalyse. 149 handwritten pages. Persönlichkeit. 35 handwritten pages. Fluchgebet. 19 handwritten pages

2. The Objective Principles of Painting, translated by Victor Grove. 111 typed pages

3. Captatio Benevolentia, "My Cat" (English). 73 typed pages. (This does not appear to be complete)

4. Über Gehen und Nehmen. 256 handwritten pages

5. Jehova: The Tragedy of Genesis. Ascona-Locarno, 1915. 116 typed pages

6. Autobiography, Part 1. "My Boyhood in Rumania, 1875-1892." London, 1939. 76 typed pages

7. Die Einstellung der modernen Architektur zur Malerei. 19 handwritten pages. Eröffnung der Austellung im Haag. 1926. 5 handwritten pages. Art in the Home. 5 typed pages. Die Kunst im Heim durch den Kunst-Verleih. Dec 19, 1925. 8 typed pages. Die Entwicklung der Malerei in den letzten 40 Jahren. 13 typed pages. Vortrag in Holland. Oct., 1926. 27 typed pages. Kunst & Allgemeinheit. Reichswirtschaftsrat, "Aufbau." 8 typed pages. Die Entwicklung der Malerei in den letzten 25 Jahren. 12 typed pages. Kitsch und seine Bedeutung in Kunst und Leben. 37 handwritten pages. Morgenrote einer neuen Kunst. 1932. 35 handwritten pages. Vortrag über Kunst. Charlottenburg. May 8, 1930. 3 typed pages. Vortrag gehalten am 26 Januar, 1919 im Kunstsalon Wolfberg, Zürich. 5 typed pages w/carbon copy

8. The development of painting. June 1945. Pamphlet. Analogie zwischen Malerei und Musik. 42 handwritten pages. Das Recht des Schwachen. Das Recht der Schwaeche. 15 typed pages. Kampf und Dasein. 9 typed pages. Kritik, Jurifreie Gruppen. Feb 1933. 37 handwritten pages. Draft of speech (German). 25 pages. Draft of speech (German). April 5, 1928. 14 pages. The Therapeutic Value of the Practice of Art (lecture). Typed. Letter from Mynona (German). Aug 11, 1939. 20 pages. Draft of Speech (German) Feb 27, 1930 Kritik und Kunstbetrachtung. 28 handwritten pages. Therapy through Art. August 1937. 8 typed pages

1. Kunst der Überfüllteste Brief. Aug. 1928. 9 typed pages. Von Kunstverleih zum Kunstabonnement. Feb. 24, 1928. Charlottenburg. 3 typed pages. Optische Plastik. 1 typed page. Prismatische Optik. 43 handwritten pages Moralische und Wirtschaftliche... 29 handwritten pages. Die Ismen vom Standpunkt... Aug 1939. London. 4 pages Draft of speech (German). August 1932. 7 handwritten pages. Draft of speech (German). 9 handwritten pages. Kunst der Überfüllteste Brief. 9 handwritten pages. Draft of speech (German). "Minderwertigkeit." London. 32 handwritten pages. Draft of speech (German). April 1939. London. 37 handwritten pages. A. Döblin eröffnet die Berliner Sezession. 1931. 2 pages. Sterbende Berufe und Anderes. Ueber die Endliche. Unendliche Harmonie. 7 handwritten pages. Paul Scheerbar der Phantast... 5 typed pages. Die Zertrummerung des Tafelbildes. Ein Soziologisches Symptom. Feb 22, 1932. Charlottenburg. 7 typed pages (carbon copy) Wir haben die "gegenwärtigste" bildende Kunst. October 17, 1937. June 1, 1931 Charlotteburg. 3 typed pages. Vom Schicksal der bild. Künstler. 8 handwritten pages. Bilderverleihinstitut. 3 handwritten pages. Optische Gleichwertigkeit. 4 typed pages. Naturalismus-Mannierismus. 32 handwritten pages

2. Everyone Can Learn to Paint. 3 typed pages. Newspaper articles by Segal (German). 1928, 1930-1931. Mein Weg der Malerei. Aus einem Vortrag. 12 printed pages. Ich Selbst über mich Selbst. 1935-1936. 7 typed pages. Vortrag. Von der bildenden Kunst. November 1931. Charlottenburg. 5 typed pages. Good for the Artist, but... Feb 18, 1939. 3 typed pages. Manifest. July 1938. London. 4 typed pages. Einem "Neuen Naturalismus" in der Bildenden Kunst? 2 typed and 2 handwritten pages. Neuer Naturalismus. Jan 1930. Charlottenburg. 4 typed pages. Naturalistisches Manifest. October 1931. Charlottenburg. 3 typed copies. Painting Tuition for Backward Children. 4 typed pages (English). 5 handwritten pages (German). Kunst als Erziehungsfaktor in Schulen. 8 typed pages (German). January 1941. Oxford. 6 typed pages (English)

5. Die Akademie: Ein Kapitel aus "Macht" - ein phantastischer Roman. 14 typed pages. Grundlagen der "Wesentlichen Kunst." 1917, Ascona-Locarno. 34 typed pages with handwritten notes

6. Tagebuch eines Jammerlappens. 1916. Ascona-Luli. 300 handwritten pages

7. Jehova. The Tragedy of Genesis (in German: Jehova: Die Tragoedie der Schoepfung). 1915. Ascona-Locarno. 78 typed pages

8. The Objective Principles of Painting and Therapy through Art. ca 1929. 88 typed pages (English). Der therapeutische Wert der Kunstbetätigung. August 1937. 5 typed pages (2 copies). First Chapter from: Die Gesetze der Malerei. Leitgedanken zum Kunstunterricht/Malerei. 5 typed pages

1. Bleibende Briefe. 1915-1955 (German and English) typed and handwritten

Die Entwicklung der Malerei in den letzten 25 Jahren. March 11, 1926. 88 typed pages. Correspondence (German) March 1926. Typed and handwritten. Kitsch und seine Bedeutung in Kunst und Leben. April 1932. 10 1/4 typed pages (2 copies). Der Künstlerische Schaffenprozess. Gespräch zwischen A. Segal und Helmut Jaro Jaretzki. July 25, 1932. 7 typed pages. Von der Bildenden Kunst. Segal und Jaretzki. July 10, 1932. 1 typed page Ausblicke-Probleme. Nov 25, 1931. 5 typed pages. Kunst und Publikum. 8 1/4 typed and handwritten pages. Allgemeine Unabhängige Ausstellung. June 1928. 1 1/2 Printed pages. Brecht. Über die Notwendigkeit von Kunst in unserer Zeit. 1 typed page. Kunst und Wirtschaft. March 5, 1931. 12 typed pages. Konventionelle Lügen in der Bildenden Kunst. 2 drafts. Feb. 1931 and March 1931, Charlottenburg. 12 typed pages and 36 typed and handwritten pages

Ich Selbst über mich Selbst. 63 typed pages

Zeitungs Ausschnitte Churchill. Newsclippings on Winston Churchill (English). Articles by Segal (German) 1925-1931

Über den Standpunkt. Chapter drafts 15-19. June-July 1921. Zusammenlangende und Zusammenlanglosigkeit. 46 handwritten pages. Über Prostitution. 38 handwritten pages. Die Grenzen der Kunst. 22 handwritten pages. Über Perspektive. 41 pages. Kritik der Kritik. 24 pages. Other drafts. 1919. Ascona. 145 handwritten pages. Notepad with pages numbered 112-196

Psychologische Entwicklung des Sehens vom Säugling bis zum Erwachsenen: vom Standpunkt der optischen objektiven Gesetze der Malerei. April 1939. London. 23 typed pages. Die Kunst als Mittel zur Bestimmung der Normalität und die Therapeutische Anwendung. Jan. 1939. London. 32 typed pages. Gedanken über Gleichwertigkeit. 21 handwritten pages Correspondence (German) with Dr . Binswanger. Nov 15 & 22, 1937. Exhibition Nijinsky. Nov. 1937. London. 5 typed pages. (English). Correspondence March-May 1937 about living in England. Der Therapeutische Wert der Kunstbetätigung. 1937/8 5 typed pages. (2 copies) Draft on painting and psychology (English) 1 typed page. Draft of Lecture (German and English translation) 2 typed pages. Art for the Artist's Sake: Arthur Segal and his School of Painting. Dr. Ninetta Jucker. Aug 1937. London (English 2 drafts) Correspondence July-Nov 1937 Der Therapeutishce Wert der Kunstbetätigung (2 copies). The Therapeutic Value of the Practice of Art. August 1937. London 6 typed pages. Objektive Kunstbetrachtung. Feb 1930. 24 typed pages. Objektive Relextionen (sic) on Art. 18 typed pages. Correspondence 1929-1930 (German) Ist die Heutige Bild. Kunst der Gegenwart aufsprechend? 4 handwritten pages. Painting and the Psychological Sciences. April 1937. London. 3 typed pages. Malerei und Psychologische Wissenschaften. March 1937. London. 4 pages. Painting and the Psychological Sciences. April 1937. London. 4 pages. Kunst, Kunstgewerbe und Handwerk. Also Psychological Occupational Work and Therapy. Sept 1939. London. 4 typed pages. Die Psychologischen Vorbedingungen der modernen Malerei. March 1937. London. 2 typed pages. Painting to Cure Nervous Disorders. 5 typed pages. Schule zur Verwendung der Kusnt als Therapie der Seele und des Gemuts. 4 typed pages. We Copy Nature. Jan. 1945. Pamphlet

[OS 2]: Manuscript, "The Objective Principles of Painting and Therapy through Art," in scrapbook-like form

Segal autobiography: "My boyhood in Rumania, 1875-1892"

Article "Arthur Segal en Roumanie" from Revue Roumanie d'Histoire de L'Art (French, 1987)

The Arthur Segal Collection contains manuscripts and typescripts of speeches, essays and books of varied length (some up to several hundred pages). They deal with various art-related topics, as well as literal and philosophical subject matters. Some of the manuscripts deal with the cure of mental diseases through painting or art in general

Arthur Segals correspondence comprises of letters of known artists, writers and architects like Ludwig Meidner, Salomo Friedlaender, Ludwig Rubiner and J.J.P. Oud. There are also letters from famous psychoanalysts and psychiatrists like Ernst Simmel and Franz Alexander, and the copy of a short letter of recommendation by Sigmund Freud

There are drafts of Segals speeches and lectures, given at his painting school, on the radio, or on various other occasions, for example upon the 10th anniversary of the death of the writer Paul Scheerbart

To a lesser extent, the collection features newspaper clippings, and a small amount of photographs showing Arthur Segal are arranged in series IV

Arthur Segal was born in 1875 in Jassy, Romania. He left school early and went to Berlin, Munich and Paris to study painting. He was a co-founder of the Neue Sezession in Berlin (1910), a group of artists that included Emil Nolde and Karl Schmidt-Rotluff (Die Bruecke), whose paintings were rejected by the Berliner Sezession. He also exhibited with artists of the group Der blaue Reiter. From 1914 to 1920 Arthur Segal lived in Ascona, Switzerland, which proved to be a refuge for many artists at the time. In 1920 he moved back to Berlin, where he founded his own painting school in 1923

A follower of impressionism and neo-impressionism at the beginning of his painting career, he approached a more expressionist style from 1910 to 1914, before sympathizing with Dadaism and finding his own style from 1915/16 on. In the late 1920s, Segal became an advocate of naturalism and searched for the objective principles of painting (one of his book manuscripts is called: The objective principles of painting, 1937). He was a member of the artist-groups Die Autonomen and Die Juryfreien, and served as director of the Novembergruppe. In 1925 he rejected a teaching position at the New Bauhaus in Dessau. Besides his work as a painter, a painting teacher and his numerous functions in the artist community, Segal created woodcuts, wrote book-manuscripts, published numerous essays in art-journals ad newspapers, and gave lectures on the radio and live for various organizations. Following a ban on exhibiting his art, Arthur Segal left Germany in 1933 and moved to Mallorca, Spain. Later, he immigrated to London and succeeded in opening another painting school

In addition to his work as an artist, Arthur Segal was interested in psychology and psychotherapy and conducted correspondence with many famous psychoanalysts and psychiatrists of the time. He especially researched the effects of painting in order to cure mental illnesses, and his attempts were acknowledged among psychologists and psychoanalysts alike

Arthur Segal died in London in 1944

Photographs removed to Photograph Collection

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