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Graphics II (1989-2016) R.S. Beal - Click on Image to enlarge -   (PENCILS, Charcoal, Wax Crayon, etc.) STUDIES und Graphica

Robert S. Beal -   Surrealist - Painter/Etcher (Works in Oil and Intaglio/Aquatints/Printmaking/Etchings) - 1970-2018
  'The Insect Mask'  2008 Graphite   

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        "Eve with Apple''                      'The Bullyrag Mucker'                             'Jesus and the Devil'

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  'Bull-Head Trapeze Artist'                     'The Uni-midget Artist'                     

View  'Worm Head'

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                                      'Jesus Ephem'  18 by 24" pencil                          "The Wolf-Gang Tree" 


                                                                       'Still life with Nutcracker'

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                          'The Coward-Coffee Czar'                            'The Knavish Tunk' 


                                         R.S.Beal   'Voltaires puzzle's'  Pencil   24 by `18"  1998

To view large, click 'View' or click on IMAGE, when applicable. Wait for image, then click again bottom right when large button appears to zoom-in double or full-size.



'The Fallen'  Pencil  2013 (study for etching and oil)


                R.S. Beal   'Shape of Life'   Pencil  2009

" Little Pitcher"  Pencil  1984

Suitable for Framing' - Sheet size 19 by 25" - R.S. Beal
                               'Study of Skull'  Pencil 2009             'Self Portrait'   Pencil    2009  (Detail)

- The recognizably malicious archetypes of the 'inhabitants of surrealitie's' arise unconsciously from the improbability's of everyday experience and range from the victim to the victimizer, the masochist to the deceiver, the hero to the coward and the ephemeral intellectual to the 'dimwit' and the illiterate.- 

R.S. Beal  'Women landing on the Moon'  25 by 18"  circa:1991-95

Robert S. Beal  'Portrait of a female  Pencil  24 by 18"  2012

R.S. Beal  "Eve Tempted'  Pencil  24 bvy 18"  2012

R.S. Beal  'Adam and Eve'  PENCIL  24 by 18"  2013

from the Graphic suite 'Paradise Lost'

- Albrect Durer - Michael Parks -
Rage and Hate

R.S. Beal 'Eve's Reflection'  Pencil  24 by 18" 2013

R.S. Beal  'Lucifer's Contention' (From Milton's Paradise Lost SERIES of PENCILS

Pencil, wax Pencil and charcoal           24 by 18"      2016

   R.S. Beal   'Three Women'  (detail)

(Blind Contour Drawing with Values added) 

'Study' Nude Pencil 2010

R.S. Beal   (Sleeping Female)  18 by 24"  Pencil  2012

R.S. Beal  'Back Study Female' Pencil 2012


R.S. Beal   'Portrait Study' for 'The Vernacular Origin of Surrealism'  25 by 18"  2007

The visceral (or Venacular) origin of Surrealism   'Detail'  Oil   2007 (See also GalleryIII)

i.e. WORDS . . .

R.S. Beal 'Nuts and Crackers'  Pencil 18 by 24"  1998. .


Robert S. Beal  'Study for Feet'  2007

 (Sheet Size: 23 by 18" heavy bond cream)


R.S. Beal    'Robin'   23 by 18"  2007

R.S. Beal   'The Cancer at the Apollo'   Pencil   1988

   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)

           Full View

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

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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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Entry Gallery
Etching II
GalleryIV 1980
Introductory Gallery
Gallery II
Graphics II
Gallery One
Still Life - Oil