R.S. Beal 'Untitled' 1994
Pencil on 112 Strathmore Watercolor pape
R.S. Beal GRAPHICS II - de' CHIRICO
R.S. Beal 'The Prisoner'* (detail) 1993
- The great majority of the first generation of Surrealist painters, ALL initially inspired by the metaphysical realities of Giorgio de Chirico (Greece-b.1888), later denounced and often mockingly imitated his work, despite Chirico's early and brilliantly malevolent imagination and his later hypocoplasiaticristically and latent theatrics -
*Freud is depicted again, just to the left of the prisoner, as a hypertrophied pseudo intellectual. And the artist-prisoner, being blinded by his own perceptions, and the will to see only that which cultural perceptions allow, is held prisoner by the 'inhabitants of surrealites', superstition and archaically obsolete and toxic thinking.
R.S. Beal 'The Wounded Condottiero'
Pencil/Charcoal 20 by 16" 2006
R.S. Beal Cartoon study for 'Surrealism as Kitsch'
Under-drawing in Pencil/Charcoal (detail) 20 by 29" 2006
R.S. Beal 'Surrealism as Kitsch' (detail) Oil 2006-07
- Surrealist Kitsch (Oil on Canvas) was probably started around 2005-06 and still remains unfinished, the maniken head (with spheres), on the far left, is an open interpretation of Raoul Hausmann's Wooden "Mechanical Head" (1919-20), intially made from wood, leather and brass, etc., Hausmann and the early Surrealists-Dadaists were the first to make use of Manikens and 'store dummies' in their own work, as most contemporary Surrealists are already perfectly aware of: They (and the early Dadaists) can often be found attaching miscellaneous articles and found items to their own manikens such as tape measures, rulers, labels, metal collapsing cups, etc.. On Hausmanns 'head' is also found attached a leather pocket book - Taeuber-ARP (Dadaist) was influenced by Hausmanns 'Maniken's in his own painted wood 'DADA-Head' of 1920.________________________________ R.S. Beal 'Surrealist Kitsch' Oil (unfinished - 20 by 29") 2006
R.S. Beal 'Minimal drawing' Mixed-medium 2002
(Minimalism to Surrealism, Avant Modernism's in N.Y.)
Unless one is painting Kitsch, Minimal or Conceptual art, large Field paintings, Surface decoration, Abstract expressionism (and its offshoots), highly decorative art on a large scale or Installation art and living, working and showing in New York city, art in American is essentially a Waste of Time. One must speak in terms of 'surface tension, tactile white sensuous planes of emptied textured paint, existential blackness', blah, blah, etc., etc.. Works like this (above) often inundated the magazine 'Art in American' during the 1980's and 1990's and still lingers on long after the death of Pollock and Kline. A strong desire to establish and maintain an American (National) identity in arts, during the 1940's and 50's, essentially and permanently, ousted all other forms, particularly Surrealism, (yet recognizing the larger part - influence - Surrealism played in Modernist schools), ETC., ETC., . . .
Recommended reading: Art in American, Jan. 1994 - the Gorilla Girls - The art community is 'A closed system (schema) entrenched in a set of pre-determined and constantly narrowing pre-defined limits' of an established ideological order generated by a patriarchal dealership mentality, that has something intrinsically and inherently wrong with it, at its beginning and that allows no access to and for actual creativety, virtuosity, exploration and experimental developement.
'Portrait of a Neurotic Mitraileuse Art-Critic' (Auto self-portrait)
Pen and Ink 2007 (Private Collection: Keith Widgor)
R.S. Beal 'Death Camp Residual PAN'
2007 23 by 17" Pencil/Charcoal Detail
R.S. Beal 'Urban cylinders for civilized Self-Containment' (Oil on torn Canvas mounted on sheetrock) 1988
R.S. Beal 'A Collection of Reflections' Mixed Medium/Collage/glued paper 1993
R.S. Beal was a participant (selected artist) in the International Surrealist/Visionary BraveDestiny 'Williamsburg Art and Historical Center' (Wah) show in Brooklyn, N.Y., 2003 sponsored by the Society for the Art of Imagination. He is a selected artist in the American Surrealist Initiative (A.S.I.) show, Saginaw Arts Museum, MI., 2008 and won the National Trellix-fortunecity Grand Prize site design, May, 2000.
*Surrealism has an irrational base and tends to substitute conscious moral dictation and intentional visual 'manipulation' for and with a spontanteous creative imagination that shys away from deceptive double entendre 'rationalizations' (anecdotal or literary image making), that, at their logical conclusion are simply irrational facades and more often than not completely 'illogical', I.e., a pretense.
R.S. Beal 'THE Liar' pencil 30 by 26" circa: 1993-94
Home / Introductory Gallery / Graphics / Gallery One / Graphics II / Printmaking / Etching II / SlideShow / MusicSureal / Still Life / Gallery II /Gallery III / Still life / Visionary-Sureal / GalleryIV 1980
R.S. Beal 'Auto Self-Portrait' (blind contour Drawing)
Pen and Ink 2008 Collection: K.W.
'The Swiss Swatch Watch' Study Female 2009
(The Swiss Swatch Watch)
R.S. Beal 'The Lamp' Pencil 1973
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