Slide Show will take a minute to load and contains an 'overview' of works available on all four site sections. You CANNOT enter this Graphics site thru the window (slide show) as it will only take you to the manufacturer of the software that made the slideshow. Enter the site thru 'ENTER HERE' (Graphics I) link located below and above flash slide show.
Flash (slide) Show gives a brief, albeit full 'overview' of all R.S. Beal sites (19 frames). Each site specializes in specific mediums or genres related to Surrealism and the Surrealist 'visual works' of R.S. Beal. This site predominately focus's on Graphics (Works on Paper) and Printmaking (intaglio and aquatints), albeit contains some larger Master Oils and works completed after 2005. For quick view, each site (excluding this specific site) contains 7 pages and images are high resolution/large. The 'TimeClocks' site contains over 99 pages. This is an Introductory Site and the primary 'domain' entry site for all R.S. Beal sites - images on all R.S. Beal sites are typically posted large, requiring little image to image linking. To view thumbnails 'Oils on Canvas' visit offsiteThumbnail Gallery at R.S. Beal Surrealism 2005 or offsite Gallery Section THUMBS (beal-SURREALISM) and offsite, Thumbnails in Oil (TimeClocks), or simply visit large views: GalleryONE (on this site).
Who Stole the Tarts . . . ? and here the guinea pig cheered . . . and said frankly
"I'd rather finish my tea," said the Hatter,
before your 'offer' gets to the DOOR . . .
- The Judge -
'We live in a society were legimate artists have simply been pushed out of the market'
Art Organizations and most galleries wish only to promote commercial hacks, conformists and fashion and generally want nothing to do with serious art. 'Art is meant to 'disturb'; painting a 'bucket' of roses tends to help none and benefits nothing, while only maintaining the illusion that we live in the best of all possible world, i.e., which we don't''. The world can be very unpleasant and most people are walking around harboring extremely suppressed, unconscious anger and rage. It often 'surfaces' via humiliation, inappropriate rage, insults, inocuous sarcasm and mockery.
'The Shadow Twins' circa: 1982
2009 "The Shadow Twins II' Study
- two halves, the dark, often hidden, side of personality - Graphic/Pencil
'Society praises its living conformists and honors its deceased rebels'. There is a constant conflict between individuality and group consensus. - Gunther Hagans
The negation of postmodernism (which by their own academician standards of self-authoritative rule), is considered outdated, outworn and outmodeled);
For an artist to establish his own personal metaphors and vocabulary, is now seen as a threat and one that could potentially create a new narrative-avante in art, which would, in itself, cancel out that very ubiquitous and age-old bureaucratic postmodern, authoritative paradigm, as quite obsolete (which, by the way it is by it's very definition). Neither originality, creativity, genius, skill, talent, virtuosity, etc., determine artists ways of working, art or now, even, art history, but rather it is the ideation and beauracratic monopolies of MFA programs, academician dictatorship and good marketing that now determine 'art history', artists and movements and recognition. The rise of academic authoritarianism has always been an obstruction to actual creativity and new forms.
The rise of postmodern academic authoritarianism has produced a complete break between art history and the practice of actually making so-called art
R.S. Beal 'Portrait of Prufrock' (The Judge) Line Etching IMP/First state 7 by 5" 1997
'Female Nude' study 2010
True Biography (1970 to 2010)
R.S. Beal began preparing for the re-emergence of Classical Surrealism, in the visual mediums in 1971, specializing in Oil and Intaglio (Etching and Stone Lithography). He acquired his formal education at the school of . . . (FineArt/TU) and while his original major was in 'Economics' (which still influences current works) , albeit He left the school far behind, per se, to study more specifically, anatomy,color theory, perspective, life drawing, composition and the Science of Light. Now, Internationally AND World wide, considered a Master and Born in one of the most Anti-Surrealist and bias communities in Middle-America, the artist rarely shows. "The antagonism and prejudice towards Surrealism and the Art of the Fantastic AND the IRRATIONAL unconscious, in the early 1970's and 80's (particularly in Oklahoma), disavowed any public viewing of His work, for over 20 years and he is generally unable to show, due to an attitude of intolerance. execration, fear and hatred towards Surrealism, in Oklahoma by the orthodox art community at large." (of course New York can be just as prejudiced towards an artist working outside of that specific area as a rural community can detest Surrealism towards an artist that is). Oklahoma is one the Nations lowest in education and specifically 'art' education, where no cirriculum, is given to art and thousands are spent, instead, on sports. Internationally recognized, as a 'Master', with the exception of Oklahoma (the center of the 'Bible-Belt and Intolerance), where, for over 40 years, his work has been ridiculed and his paintings destroyed and ANY public viewing of his work has been 'disallowed', due to intolerance and prejudice, the artist rarely shows, within his own 'geographical area. His first One-man show was held in 1975, and his last was held at the Robert Fields Gallery in 1990 (after extensive city confiscations and thefts destroyed 17 years of work) and again, briefly, in 2005, when Urban Tulsa _ ( the local weekly arts publication) saw his work and briefly ran 'Paradise Lost' as their frontispiece and article in Dec. 2005. The work, Paradise Lost, is now in the permanent museum collection, along with other works, at the "Wah"(Williamsburg Art and Historical Center - Museum -, Brooklyn, N.Y.), Yuko Nii foundation- John Milton archives and Historical artifacts. Due to little, to absolutely no support system and extreme isolation, for Surrealism, in his immediate geographical location,, he now generally only participates in National or International Surrealist, Museum held and sponsored shows. Terrance Lindall and Yuko Nii (the Wah) or Michael Bell (staunch supporter of Surrealism/Retired), selected his work to participate, in representing, among a selection of other National artists, those first generation of Surrealists, in the A.S.I. show, scheduled for Jan. 2008, albeit the show was canceled. Robert Beal's greatest influences come from the likes of Carvaggio, Dali, Tanguy, Delvaux, Hausner and even James Ensor, all of whom, he considers, the true 'fathers' of Modern Art. Surrealism is NOT and has never been, visually, a literary confluence, albeit sources may spring from such, the 'Irrational' unconscious is it's mainstay.
In 1986, from contempt and frustration, towards a culture that largely ignores the arts (and seeks ONLY that which is fashionable or accourant or commercial palpable), he began experimenting with Surrealist Sounds in Music and melody, playing and experimenting with over 11 different instruments including, piano, electric piano, guitar, wind instruments (tenor and alto sax), flute, drums, electric keyboards, etc., and synthesizers and with the help of full effects peddles and digital software developed his extension to visual art in subliminal emotive music. As a lifelong 'visual' Surrealist, formally trained, he is one of the few 'authentic' Surrealist masters or artists engaged with music. As such he is not a musician influenced by Surrealism but rather a Surrealist that plays music - the music is compelled by the same source of origin that the visual collaborations are adjoined to. The collective-emotive subconscious. His music's are original Surrealist creations. By no means is he a musician, but rather, according to the local puritan zed and horribly biased conservative and otherized newspaper, he is simply a 'Hack' that is NOT worth viewing, albeit oddly enough, Internationally, he is considered a Master. Regardless of the pretty color of the tie worn, disfunction, apathy, ignorance and prejudice, towards Surrealism, will always be prevalent in conservative environments where 'appearance' is more paramount than substance or truth.
Appollinaire, in his program notes for Diaghilev's Russian Ballet company, which was preparing the Surrealist Ballet 'Parade', in 1917 (a satire on the world of theater), first used the word ''sur-re'alism to describe the effects of conflicts in the theme of that Ballet. 'Parade' involved elements of shock that the dadaists were then exploiting in Zurich. This, then being one of the first recorded uses of that term to describe an art form. As such, 'Surrealism', is really not an art form, according to Bretons use of the term, by 1924, but rather has a much wider paradigm involving mans unconscious ways of perceiving and thinking in terms of formal art and expression, with multiple and often contradictory 'points of view'. When used in the visual arts it can be effective as a tool for presenting those perceptions that cannot be put into 'rational' language and more often than not shows a world view paradox. As such, traditional 'aesthetics and traditional 'composition and decorative effects may not be very useful for Surrealism, in some cases, according to Breton. This is exactly what may make it 'not' very palpable or tangible for the 'common' man, at first view, but is precisely that 'effect' which gives it it's wide appeal, in fact, to the common sense of the absurd 'non' sense of things at heart . . . TMI
It is precisely the Art Connoisseur and Art Experts that are disgusted by Surrealism, where-as the common or natural viewer, unadularated by conditions and fashion, often can appreciate and understand it.
R.S. Beal 'Disrobing of the Bride' (detail) FullView
1993 Conte/Pastel/Charcoal 'From M.E. (Max Ernst of the same title) 1939
Homage to M.E.- Rhineland 1891-1975
'A painter may know what he does not want. But woe betide him if he wants to know what he does want!' - Max Ernst
'In a sense all painters become what they were that preceeded them and that which will come after them'. Historical Culture, in the modern world, is created at the fringes of Society and not at its center and in the largest sense, the 'Art World/Art Market' at large has no idea what is actually transpiring in the real world.
*Oneiric: (common use-N.Gr.) of or relating to a dream. Pertaining to a waking condition which appears dreamlike.
*Veristic (Verism): to have the 'appearance' of reality. Theory or style holding that truth and realism as (is) an aspect of art and often using contemporary material as opposed to Romanticism. The use of non-logic subliminal imagery in a realistic vein.
A.S.I. (American Surrealist Initiative) Show Schedule 2008 Saginaw Arts Museum (Selected North American Surrealists) Selections by Michael Bell
Participant in the International BraveDestiny Surrealist/Visionary Williamsburg Art and Historical Center (Wah) show, Brooklyn, N.Y. Sept. 2003 - Society for the Art of Imagination
Participant in Williamsburg Art and Historical Center John Miltion 400th Anniversary Show - permanent collection
National Grand Prize - Trellix/fortunecity site design, May 2000
Literary Publications UK and USA (GYPSY Anthology USA And Gypsy 1993 Summer issue), The Silence Within: Poetry.com (The fortune Teller), TW issue 4 (UK) -1994 Edited by Tim Allen: R.S. Beal - Surrealist cover/illustrations
- Illustrations for Literary Publications - Hardback Publications, Articles, etc.
(Articles, Publications, Hardback and Softback editions about the artist)
R.S. Beal 'Rat King' (Cover Illus. TW - Literary Journal UK - issue 4 / Editor: Tim Allen 1994 SOFTBACK
After (previewing) high res. Graphics (Works on Paper) on this site please don't forget R.S.Beal SURREALISM Oneirical and Classical (Online Purchasing site - Tanguyian Biomorphs) . . . and also visit . . .
Art Buzz Publications (The Surrealist Work of R.S. Beal in Hardback); ArtBUZZ FineArt hardback ART books Collection 2010 (Available Jan. 2010 from Artbuzz.org) - a fineart hardback publication, 12 by 12" coffee table edition 2010, Director: Toney Blue, Florida published by Artbuzz, 120 artists with commentaries.