NOT intended For Oklahoma viewing
Between 1971 and 1988 the artist worked on meticulously wrought pieces, often taking years to complete these 'works in oil' and often months to complete Graphic works. In 1986 this culminated in a large 10-12 foot (64 sq.ft) painting, requiring 5 years to complete and over 200 etched master plates. The work was in preparation for 'The Re-emergence of Surrealism' proper, which, the artist deduced would occur in about 30 years hence, or around the change of the millennium. In 1986, this work (before it could even be shown publically) was confiscated and severely damaged and again in 1988 his work was discovered by thieves, confiscated again and the entire 17-20 year Oeuvre was stolen shortly there-after, entirely destroying a potentially fascinating and lucrative career. Only a few pieces have so far been recovered .______________________________ His work has been 'partially' replaced in the ensuing years. Note: to view 'Adam and Eve' - scroll to bottom of page
Note: the recently recovered large 12 foot 'Three Men on a Stage' Oil can be viewed at www.Beal-Surrealiste.com along with other recovered works from the 1970's and 1980's.
Master Drawings - Etchings - Oils
'The Misanthrope' (Graphic Pencil, Wax Pencil and charcoal on paper) 36 by 24" circa: 1983 Master Graphics / Artists Collection
'The Misanthrope' is one of the surviving stolen works still in possession of the artist that was completed between 1970 and 1986. Using the artist's own body, various female model's and traditional anatomical reference's (in 1983) - a juxtaposition of heterogenous male/female anatomy (showing the underlying sartorius, tendons, structure, etc.) and an bizarre, ugly 'outre' face depicting a meticulously drawn 'characterization' of vanity, hypocrisy, greed, chastity and hatred. The original is now mounted under plexi-glass and only archival 'giclee prints' from this original are available. Possibly this is a pre-cursor portrait of the thefts Regardless of how it is intellectually interpreted or percieved it is an early 'master' graphic by R.S. Beal. Artist note: 'I recall in 1983, working 8 hours a day for 30 days to complete this one work.
Robert S. Beal "Three Men on A Stage' (Bananna Jesus) 72 by 102"
Visit Also: Primary Site at Beal-Surrealiste
To view how the artist incorporates narrative photo-realism into non-linear, non-narrative, a'logic or non-logical Surrealism proper view: R.S.Beal SURREALISTE (under Graphics Link) and the work - Paradise Lost (Grasaille). This work measures 36" by 72' and has elements of early 'photorealism' incorporated into it. A full completed view of 'Paradise Lost' is available at Surre'aliste GALLERY One (Scroll page and use browser back button to return to this site).
R.S. Beal 'The Visceral Origin of Surrealism' (Detail) circa: 2005-07
R.S.Beal 'Confrontation' (Pencil and Wax Pencil on paper-stock) 24 by 36" circa: around 1982-83 - - The artist spent 6 years studying classic anatomy and life drawing between 1970 and 1976 and continues his interest in the life figure. While 'Confrontation' is not a master oil it is a graphic work based on years of study and typically took 2 months, a moth, 12 flying doves and three dead people, to actually execute.* To understand the importance of not allowing censorship, in any form, to intercede into Surrealism (or any work of art), along with the importance of the use of the figure, anatomy and life drawing in art proper, this work is included in beal-surrealism. One of the divining principles of Breton's 'surrealism' is the overriding of any internal or external censorship in art and the unrestricted 'freeplay of thought' and imagination.
In the 1970's and the 1980's the artist developed a style of painting in Oil that was typical of 'Photo-Realism' and applied that style to Surrealism proper. Few of these works have survived extensive thefts.*
R.S. Beal 'Sabulous Remains II' Intaglio Print (Etching)
7 by 11" 2010 (Aquatint and Line) Signed AP/IMP
'Occultation and Eros' (Line Etching) 7 by 4" 1982 Signed/AP (Artist Proof-IMP) Etchings are typically difficult to digitally photograph due to the extremely fine line the needle imposes on the camera. Of over 200 etched plates completed between 1972 and 1986 this is one of the few plates not stolen, in the artists possession (excluding newly etched plates after 1988), albeit the artist has already replaced over 400 new works, including available oils, pastels, graphics and intaglio (etching) prints.His etchings have been compared to Rembrandts in the use of meticulous line work in execution and drawing. While there is a renewed interest in contemporary SURREALISM and a 'Renaissance in Surrealism' and Visionary art now occurring, particularly within more advanced sectors of society, museum curation, online viewing galleries (SurrealismNow), Beinart Collective (Australian underground), UK), etc., yet many geographical areas are still disgusted by this Renaissance of Surrealism and their inability to drive it out of existence. The works on all four R.S. Beal Surrealist sites (1971-2005) have never been available for public viewing due to an all to often prevalent anti-Surrealist prejudice and bias in his own immediate geographical area. Refer to publications, awards, shows and bio (See: About-offsite) or to the primary site at: www.beal-surrealiste.com.
R.S. Beal 'The Mask of God' Etching (line and aquatint) 2013 detail
R.S. Beal "Cerberus II' (Guardian to the Gates of Hell) ETCHING 2010
The artist prints on a Conrad motor driven Stone-Litho and Etching press (48 by 24" Bed Size). Each plate (print) is hand inked and printed using this Studio Artist Press and requires many pounds of top roller pressure to insure a good print
- 'If one knows 'how to look' ALL of Society and Culture is SURREAL!'
R.S. Beal 'Tanguy Revisited' Oil 16 by 20" 1995 A derivative, albeit original work, painted after the style ofYves Tanguy.
Robert S. Beal 'Shades of Pale Death' 39 by 48" Oil 2005
R.S. Beal 'Dustland in ZZ' 36 by 48" Oil 2005
R.S.Beal 'Adam and EVE (with Little Adam junior)' Oil 28 by 32" 2005
It is true, as Schopenhaur argued, that love is a deception practised upon the individual by the race . . .' - w. durant
"Art is ruled uniquely by the imagination. Images are its only wealth. It does not classify objects, it does not pronounce them real or imaginary, does not qualify them, does not define them; it feels and presents them - nothing more."- Croce
Because imagination precedes thought, and is necessary to it, the artistic, or image-forming, activity of the mind is prior to the logical, concept-forming, activity. Man is an artist as soon as he imagines, and long before he reasons. - w. durant
R.S. Beal 'Eve After the Fall' (Footprints in the Sand) OIL 39 by 50" 2013
- a contemporary visual version of John Milton's classic 'Paradise Lost' epic - suite in Oils -
Thank you for Visiting www.beal-surrealism Veristic AND Classical
'As the great philosopher 'Spinoza' said just before getting excommunicated from his Dutch Jewish host . . . 'there is NO such thing as GOOD and BAD'.
. . . then he got fired
Actual 'Online' Purchasing of work is available at R.S.Beal SURREALISM Oneirical and Classical. R.S.Beal is a Verified Member of Paypal. Refer to Bio/About on that site for additional information
Veristic, Classical, Oneirical SURREALISM
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The kind of image that is sure not to upset the delicate sensibilities of the viewer unaccustomed to the absurd or to generate controversy in ANY form. Devoid of any semblance to the actual harshness of dreams and life. . . the sardonic wit of 'the marvelous' . . . or the absolute and absurd outre irony of life.
* Editors Note: "I personally own over 6 'Dali' originals-prints (all of them fraudulent) and MUCH prefer them over the (his) authenticated or/and original work, as they are considerably less mundane and pedestrian. 'I am no longer impressed by Dali'. No doubt someday, all these a priori DALI fakes will be worth 'a value' as anomalies and oddities of the (a) worldwide fraudulently ludicrous 'art market' and hype, of this absurdly hypertrophied market." - from 'the ArtWorld' as a Joke' - 1981 . . . where HYPE has MORE signification and selling power than actual 'QUALITY', authenticity and genius of workmanship.
The Artist is NOT in the business of deciphering what is fraudulent art and what is not, albeit after 40 years I certainly can usually 'tell' on sight! And now Dali is still bought 'unopened as if in his very death he is still 'churning' out' those TONS of inadequate drawings and prints, all of which are sufficiently authenticated and validated.
*Granted the difference between a work like 'Confrontation' and 'Dear Jesus and Poor Mary' is extreme in both execution and style, I had made a conscious decision to ONLY produce absolute JUNK immediately after the theft of my entire 20 year oeuvre by Kay Rahhal. Anything else was being either destroyed or stolen and besides it couldn't even be shown, as late as the 1980's, ANYWHERE in the USA. Dear Jesus (circa: 1990) is almost crudely 'amateurish' in the sense of poorly thought out, albeit exquisitely compose and yet poorly executed naivete' outsider art. I hold to this philosophy, even today. take a quick look at anything in 'Art News', Art in America or elsewhere and you'll immediately notice that 'master work' via surreaslism IS NOT acceptable in the USA unless it be Dali. I'm tired of this closed attitude and continue to paint 'absolute junk' to this day. . . work that nobody wants to steal . . .
* One of the fiew surviving works owned by the artist (completed between 1971 and 1988) is the 'Portrait of M' (offsite). All other works between 1970-88 were either stolen or confiscated by the city. NOTE: Some of these stolen works have been located and returned to the artist. These can be viewed at www.beal-surrealiste.com in Gallery IV. Refer to SURREALISM Oneirical and Classical and SURREALISM 2005 for details for works not yet recovered. Full REWARD for information leading to the return OR LOCATION of any stolen works. Please Contact: R.S.Beal for information leading to stolen works .
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