Planet of the Apes in the late 1800s, a King of Foxes and a gathering of witches. Dali meets Poe and paints relentlessly in his studio on New York’s 10th St.

Power Of Death (c. 1889-90).
Bear’s Carte-de-visite, in the 1860s.

American, 1824 – 1900

William Holbrook Beard (1824 – 1900) came from Plainsville, Ohio to New York via a period studying abroad. In the 1860s he established his own own artist’s studio on Tenth Street in New York City in a building known as the Studio Building.

He then began a fantastic mind dump onto canvas the like of which had never been seen, let alone imagined. By anyone.

In particular, Beard unburdened himself of surreal, satirical paintings featuring various beasts (in particular monkeys) performing, as humans, in human scenarios.

Not restricting his madness to just animals-as-humans satire, Beard covered thousands of yards of canvas with an outpouring of his own brand of ominous and strangely unnerving dark ideas.

Beard was prolific artist. His idiosyncratic treatment of bears, cats, dogs, horses and monkeys, generally with some human occupation, allusion or sensibility, usually satirical, earnt him great vogue at one time. His paintings were much reproduced, his strange, uneasy world experienced by the multitudes.

His brother, James Henry Beard (1814–1893), also an artistic painter, was nowhere near as interesting.

The Witches Convention (1876).
His Majesty Receives (1885).
The Wreckers (1874).
The Witches Ride (1870).
Santa Claus (1862).
The Lost Balloon (1882).
The Runaway Match (1877).
Divorce. Undated.
The Discovery of Adam (1891).
For What Was I Created? (1886).
The March of Silenus (1872-74).
It Rains It Shines, The Devil Whipping His Wife. Indated.
Phantom Crane (1891).
Foxes And Rabbits (1874).
Bear in the Forest (1868).

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