However successful Segall was in Europe, he had already been greatly influenced by his time spent in Brazil, which had already transformed both his style and his subject matter.
This particular controversy in his artwork caused he and other well known artists to organize a pro Modernist event known as the Semana de Arte Moderna[dubious – discuss].
Segall's avant garde innovations ranked him highly among other Brazilian outstanding modern artists during that time, like Candido Portinari and Emiliano Di Cavalcanti.
[6] In 1932, shortly after Segall's multiple visits to Paris and Germany he founded an organization along with other artists known as Sociedade Pro-Arte Moderna (SPAM).
Similar to the Semana de Arte Moderna, the organization included members of São Paulo's earliest modernist forerunners.
The second half of the exhibition consisted of solely Brazilian artists from São Paulo and Rio de Janeiro- such as di Cavalcanti, Ismael Nery, Portinari and Alberto da Veiga Guignard.
Segall's works included in the SPAM exhibition were two of his most important series of paintings in 1935; Campos do Jordao landscapes and the Portraits of Lucy.
Campos do Jordao landscapes and the Portraits of Lucy depicted the world's outbreak of war, it portrayed genocides and indefinite tragedy.
[7] The organization of SPAM fought for justice yet, disagreements arose between Integralists, known as Brazilian Fascists, that discriminated against foreigners in Brazil, especially Jews.
[2] Fascism was rising quickly in Germany and many believed Segall's work to portray negatively on Europe's economic status due to the largely acknowledged outbreak of war.
This particular negative impact on his artwork then forced Segall to create a series of images of his troubled Jewish childhood and to depict the large number of emigration waves that he grew up with, as well.
Still haunted by Rio de Janeiro's Mangue,[definition needed] Segall created images that stayed throughout his late career.
Much of his earlier impact of human suffering led Segall to create one of his most famous artworks in 1939 and 1940, known as Navio de emigrantes (Ship of Emigrants).
Later in the mid-1940s, Segall published his series of Mangue drawings that revealed poverty, specifically in the Rio de Janeiro slums.
[2] The solemn faces and lack of expression on the passengers blatantly shows the harsh reality of emigrants and their depressing lifestyles of forced moves.
Lasar Segall's home in São Paulo is now a museum, furnished with his furniture, books and plants,[9] as well his most famous works.
Museu Lasar Segall is also a center for the art community in São Paulo to participate in monitored cultural activities regularly.
The Museu Lasar Segall is preserved to explore the stimulating experiences within multiple forms of art while still keeping a Brazilian cultural identity.