P.729 Reynolds Beal Circus Scene

Reynolds Beal Circus Scene
Reynolds Beal Circus Scene

A wonderfully active and colorful Reynolds Beal Circus Scene with white fire truck and circus wagons, crayon heightened with watercolor on paper, ca. 1910-1920, in hand carved and gilded Guido frame, with carved gilded edged inner liner, under glass. This item is SOLD

SKU: P.729
PRICE: $
DIMENSIONS: Image: H: 15" x W: 19" Framed H: 30.5" x W: 26"

Reynolds Beal
American (1866-1951)
The elder brother of painter Gifford Beal, Reynolds was born in New York City. He and his brother Gifford spent their summers at Wilellyn in Newburgh, NY, on the Hudson River, and together they would later design the gardens at Wilellyn. Beal was a man of independent means, and was thus able to devote his life to his art without having always to appeal to the tastes of his patrons or to contemporary trends.
Beal showed artistic ability from an early age. He first studied at Cornell University (naval architecture), where he was a member of the Phi Kappa Psi Fraternity and the Irving Literary Society.
Beal spent 1901 at sea, and worked up his sketchbook entitled Cruising Aboard U.S.S. School Ship St. Mary’s (1901), he kept scrapbook pages of marine etchings and photographs, old Christmas cards, personal photographs, exhibition catalogs, and clippings.
From 1900 to 1907, he painted almost exclusively at the artist’s community in Noank, Connecticut with Henry Ward Ranger. After 1912, Beal focused more on the Hudson Valley, where he painted the colorful and whimsical scenes of the traveling circuses that came through the region. His most prolific artistic period falls between the years 1910-1920.
Beal painted the beaches in Provincetown, Key West, Rockport, Atlantic City and Wellfleet, circus scenes and carnivals. He used a variety of styles including Impressionism and Tonalism. As he got older, his work became more complex and vibrant. In addition to oils, he was admired as a watercolorist , and he and Gifford made Rockport and Gloucester, Massachusetts their home and were an integral part of the lively arts community there.  His studio overlooked Rockport’s Inner Harbor, from where he drew and etched many harbor scenes.
Beal traveled widely. In November 1944, Reynolds and Gifford had a large joint exhibition at the Fitchburg Art Center (now Museum) in Fitchburg, MA, which included eighty-three oils, watercolors, and etchings that had been executed all over the world with subjects including Singapore, Trinidad, Samoa, China, Nassau, Egypt, Haiti, Cape Ann, Atlantic City, and Provincetown.
Beal was active in the art community. By 1934, he was a participant in the Salmagundi Club, Lotus Club, Century Club, National Academy of Design and the American Watercolor Society. He was also a member of the Society of American Engravers and the Nation Arts Council. His progressive tenets marked him as a “modernist”, and he helped found the Society of Independant Artists and the New Society of Artists, which consisted of fifty of the most important painters of the day, including George Bellows, Childe Hassam, John Sloan, William Glackens and Maurice Prendergast.

 

 


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