14) 'Divine Pictures' XIV, David Beeri 1028x768
Girl-Beauty, David Beeri
Dance in the Descending Light, 2017
Dream Island, 2012
Hungarian Bridge, 2004
Surreal Light, 2004
In Evening Light, 2018
Evening on the Puszta, 2011
Fortress, 2012
Candles, 2012
Nocturnal Light,  2004

Art Beyond 3D


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'David Beeri's art is unique in every aspect.'

'His works are made impressively ethereal by a special source of inspiration, unusual spiritualization and a light radiating from within. The beauty and transparent radiance of his colors are created by the secret revelation of EXISTENCE, which makes the paintings reminiscent of a transcendental world.'

Dr. Ferenc Matits, Art historian, 2015

Art in America

Annual Art Guide 2018

listing David Beeri 

With ART UpCLOSE, New York


Issue 6

Published by Circle Foundation for the Arts Press

Lyon, France, 2018

See David Beeri on pages 12-13.

'In fact, I dare say

that David Beeri’s art comprises one of the purest and fullest realms of paintings in the history of arts.'

Dr. Ferenc Matits, Art historian, 2015


Art Albums and Cataloges

presenting David Beeri's art

Art Professionals

Vol 33

London, UK, 2017

International Contemporary Masters XII

California, USA, 2018


Vol 2, Issue 12

UK, 2018

Dr. Ferenc Matits, Art historian, 2015

A Note to David Beeri's Paintings

Beeri is an artist gifted with a special talent. He first began to paint on December 5th, 1975, driven by a strong inner inspiration. Due to his extraordinary progression, he became nationally known by 1979, and has been an exhibiting artist since then. He has had a number of exhibitions in Hungary and several other European countries as well as Israel, the United States, Japan, China and Canada.

David Beeri is a deeply inspired, sovereign artist who began to build a unique world of painting, finding his own individual tools of expression. This task tantamount to a significant adventure was neither easy nor safe. Remember, Beeri experienced the Hungarian version of Communism where artists could only prosper if they were willing to be integrated in the faceless mass of Solcialist art (“Socialist Realism”) like dumb sheep and worshiped communist idols without raising a voice. No wonder we do not find David Beeri among those fearing for their quarry, he rather chose exile which could not be avoided. The artist left his homeland on November 7th, 1987, together with his wife soon expecting their second childs, and their one-year-old daughter.

At the news of the fall of the Communist regime, the family returned from Germany to Hungary where original talents could expect no appreciation still. However, nothing could hinder David Beeri in his creative freedom. After selling a number of paintings at a successful exhibition in Germany, he bought a house and after furnishing it, he continued to build the impressive worlds of his paintings, defended at the cost of great sacrifices. As the years passed, his family grew, and today the artist boasts of eight extremely talented children.

For nearly forty years now, David Beeri has surrendered everything to art and he has created a unique world of pictures. In his pursuit, he has faced the obstacles of huge sacrifices, lack, agony, persecution, crude humiliation and pain, yet his beautiful pictorial world was constructed…

Dr. Ferenc Matits, Art historian, 2015

The Second Aspect of David Beeri's World of Painting

The singular greatness and uniqueness of David Beeri’s talent as a painter is – among other things – due to his many gifts inherited from the world of arts.

Let it suffice to mention the realm of music, virtually every part of which lives in his soul. Had he chosen to become a composer, he could have created a new, epoch-making world of music. Had he opted to play the violin or the piano, he could be sought after in the world’s best performance halls. The same goes for his inexpressibly beautiful and grandiose tenor voice, the hearing of which would be quite an event in the world’s greatest opera halls.

Let me not fail to mention the realm of literature and poetry, regarding which I have detected a similar talent in this painter. Even as a young person, whatever David Beeri attempted to do turned out to be a wonder. In his twenties, he was inspired to design clothes, so he learnt dressmaking and he proved to be so creative in making clothes for both men and women that his creations (just like his paintings) could be recognized from afar.

The same applies to a number of things that he would be able to do in a unique and extraordinary way. However, no person blessed with such versatility can do all these things. David Beeri realized this truth in time, and before fragmenting himself, he consciously chose paintings.

Let us not assume, however, that he managed to eradicate his talents from his soul. If we just grow quiet before one of his paintings, within a few moments we will hear a sound as if coming from an invisible depth, gradually joined by other instruments, and by the time we realize it, we will be hearing music dreamt in perfect beauty and harmony soaring in the air. At the same time, while contemplating his works, to our amazement we will find that what we see is none other than most marvellous poetry.

Dr. Ferenc Matits, Art historian, 2015

A selection of


About David Beeri and his art

More will be uploaded soon.

Pressure Makes Diamonds, Precious Ones

Laszlo Gyorke, 27 July 2008

Sunday East Magazine (Vasárnapi Kelet), Debrecen, Hungary

David Beeri has suffered a lot to become a successful, worldwide known and acknowledged painter and graphic artist, who now has his own gallery.

“I met David Beeri, that is, (Pongor) Beri Károly after 11 years, in the first art camp of Ajak. The painter has gained a worldwide recognition since then, as his pictures are highly rated in West-Europe and the United States as well.” László Györke

He was born in Nyírbéltek in 1951. At the age of three his family moved to Nyírmihálydi. At the age of six he almost lost his eyesight. He was a student of an industrial school, but he did not finish his studies. He tried his hand at music, but due to poverty he also had to give it up. Although his talent could be recognized in his childhood, neither the school, nor the government of the village supported him financially, or morally.

He became a tailor, worked a lot at home, even after the daily working hours.

“When on 5 December 1975 I decided — David recalls — that I would become a painter at all costs, I did not imagine the way towards it to be so hard.”

The hardships he encountered could fill the pages of a novel. Just to mention one part of his life, which also strengthened his defiance: when he was already an acknowledged painter abroad (in Paris, in the Main Mayor’s Office in 1985, on the first world exhibition of Romany artists his works were placed on a main location; he also had three exhibitions in Germany), suddenly some silence, an overwhelming silence surrounded him. After his life-work exhibition in Szentendre (1983) he was informed by some reporters that due to a superior command the propagation was stopped. Somebody (or some people), who recognized the power in his paintings, were obviously annoyed by the question: why was it him, who pursued this uniquely new style? He was gradually made silent in Hungary: he could not have exhibitions, nor could he sell his paintings.

Even more, some police officers visited his flat. A fictional accusation was made up: kidnapping. A fictional datasheet was also prepared, together with the falsified signature of his second wife. According to this false accusation, he was member of a sect named “Children of Sunlight”, who kidnap six-year-old children from their families. Because of the continuous persecution, they moved from Debrecen to Cserhágó, but could not hide there, either. He was intended to be put into prison.

There was nothing left then, but escaping. They were expecting their second child when they set off to their big journey. A year was spent in refugee camps in Germany; this period was the hell itself.

“When finally we were able to rent a flat abroad, I was working very hard and my paintings were worth enough to be able to buy a flat after returning to Hungary. But this was already after the change of the regime.”

“When I was at last surrounded by peace, we moved back to Debrecen” — he recalls it in the artistic camp. “But it seems that I was a pain in the neck of the officials of artistic life, because (and I can still hear the words echoing in my ears) they ‘encouraged’ me like that:

“Give up painting! Or just paint for yourself. You are going to be disqualified.”

Needless to say, rejection and disqualification made me even more defiant. I felt some inner urge, the power in myself, which made me not only reject quitting, but continue my way on this path filled with hardships.

Today I am only smiling when I meet one coryphaeus on the street, saying hello to them, who even turn their heads. But that is enough now, let’s talk about something else.”

He changed his name, although the family name (Beri) remained in the form of “Beeri”, seeming a name of the Bible, as it appears in the first and second book of Moses (Böeri). The meaning of the Hebrew word is: ‘the well of God’. It is not only an artistic pseudonym, however, as it is also included in his official documents like that; what is more: his eight children also use this name.

One of the possibly greatest changes in his life was that a permanent exhibition in Debrecen was opened three years ago, displaying his works, housed by the Mysticism Gallery at 6-8 Bethlen street. Besides his own works, of course, the gallery houses temporary exhibitions as well.

Several books and albums were published about him and his works:

A Mystical Artist – David Beeri (author: Ágoston Székelyhidi, art historian, published in Hungarian, English, German, and Russian);

Irradiation of the Spiritual Light (Ferenc Vitéz);

Graphics of David Beeri (by Ágoston Székelyhidi in Hungarian, English, German and Russian language).

“I returned from Florida not long ago” — he says. “I had several exhibitions in the last few years in Germany, Italy, the United States, Japan and several countries of Western Europe. Now I am planning to continue my journey to the East, namely to Dubai, where 40-50 of my paintings are planned to be exhibited from the end of September for three months. As it is reported, there is a huge interest in it already”.

David Beeri and his wife have had eight healthy children. The oldest one, named Szilvia, was born in August 1986 and is going to tie the knot this August. Dávid, the first boy is already married, working in the bank sector. The smallest child, Lídia is going to start the first class of school this year, she is an excellent pianist. Their father is proud of all of them, as they are all talented and gifted for music and fine arts.

László Györke, 2008

David with his family, 2014.

His Life is Also a Work of Art

Adrienn Hassó, 6 August 2006

'Hajdú-Bihar' Periodical, Sunday Diary (Vasárnapi Napló), Debrecen, Hungary

"Four sons and four daughters, more than sixty individual exhibitions, several shared exhibitions — this is what we can attribute to the artist during his career of more than a quarter-century."

The artist of spiritual paintings has eight talented children. Four sons and four daughters, more than sixty individual exhibitions, several shared exhibitions — this is what we can attribute to the artist during his career of more than a quarter-century, an artist who moved from Nyírmihálydi to Debrecen. The next periodical exhibition of David Beeri, representing a unique style, the spiritual art of painting, can be visited from 18 August in the Mysticism Gallery.

“Father, mother, kids together, with all their hearts loving each other” (free translation of a Hungarian animated cartoon, The Mézga Family’s theme song). In their welcoming, friendly home, the piano and the viola share one room, just like the trumpet and the saxophone; the children of the artist could even form a family orchestra, as with one exception, the youngest girl, Lídia, all of them (Szilvia, Dániel, Sarolta, Barnabás, Benjamin, Debóra and Jonatán) are studying classical music. The apple doesn’t fall far from the tree, however, as at the very beginning of his career — as David Beeri recalls it while listening to the tunes of pleasant chords creeping into his studio — he was also a talented violinist, but decided to choose painting as his future career instead.

He was using his original name (Károly Pongor Beri) at that time, and was looking at the world with a different perspective; as a result, his paintings represented a different world, with different meaning and with a different usage of colors. Earlier, mainly the dark tones dominated in his works of art, often being of some demonic topics, while today his works represent simplified tracing of lines, exciting, sensational colors with an overflowing inner light.

The great realist, Manet claimed that “light has the main role in a painting”. His statement could well be justified with the works of Beeri, but in Beeri’s case the explanation for the things is hidden in deeper structures than that. This mystical light is, in his belief, nothing else than the light of the world, of God, who can be traced back in any of us. This way, in his works it is usually the background which creates the motives. The big change in his life took place in 1984, when during painting he could feel that he was given some divine statements, instructions. At this time he turned to the faith, as he says, was born-again and was admitted to enter the world of spirituality.

He believes that the art of painting can only develop itself towards this direction, overstepping the limits of three-dimension-depiction. Therefore he intends, besides merging different styles of fine art, like naive, realist, surrealist, cubist, each at a different extent, to open the gate between the visible reality and the spiritual universe. His name was changed due to a divine inspiration ten years ago (Beeri means ‘the well of God’, while David means ‘the favourite of God’); since then he has been more relaxed and balanced as he could find his own self.

The Mysticism Gallery housing his permanent exhibition (which is to be found in the shopping complex at the beginning of Bethlen street, renovated not long ago) is going to open a new, periodical exhibition of the works of David Beeri on 18 August at 6 p.m. The collection comprises at least forty oil paintings and acrylic paintings, mainly representing a cavalcade of fantasy flowers.

Adrienn Hassó, 2006

Colors and Eight Children 

Norbert Boros, 1 December 2005

Tip Magazine (Tipp), Debrecen, Hungary

There is nothing to say about the paintings of David Beeri: they must be seen! I had to admit that I was not prepared for the impressions of it on me at all, but I will always be thankful for my fate to lead me to the Beeri-works.

He knew his fate

David Beeri was born in Nyírbéltek in 1951, and the question arises from this fact: where does his name seeming a foreign one come from? We receive the answer when the painter recalls his memories on his career; we get to know that Beeri was living and working in Germany for several years, and therefore he decided to take this artistic pseudonym. Before collecting his thoughts for the question of what name to write on the corner of his paintings, however, he had experienced a life path full of events. Interestingly, David could already know in his childhood that he had a talent for painting and for music, but for this the area of Nyírség, more precisely his hometown Nyírmihálydi could not provide sufficient possibilities; therefore, in 1975 he decided to move to Debrecen. The young talent, besides working in different factories as a tailor, started to paint in a methodical way, learned skills from Hungarian and internationally acknowledged masters, due to which he became a nationwide acknowledged painter by 1979. Beeri could climb upwards the career ladder, he could own several dozens of exhibitions, but in 1987, due to political reasons he left the country and lived and worked in Germany for more than two years, having been filled with hardships. Following the change of the regime, he and his family moved back to Hungary; four years ago he settled again in the “civil city”, where he now lives together with his wife and eight children.



David Beeri, as he states about himself, is constantly painting and has now reached a level, which is widely referred to as a new era of art, as it represents a unique style. His tendency in art (which is presumably to be called beerism) is a spiritual painting style. The harmony in his works has to be found and judged by everyone on their own. The artist admits, he feels exceptionally well when he is painting; and he also does not deny that his aim is to have this new tendency accepted in this profession. David Beeri is looking for the path for a worldwide recognition now, in which he also has some help — there is no need to worry about the continual of his path, as several of his eight children are talented young artists, not only gifted in painting but also in music.


Franz Liszt, Consolation No 2

Played by David's son, Barnabas


On the Path Toward Spiritual Impressionism

Dr. Ferenc Vitéz, July 2005

Panorama Periodical, p. 10, Debrecen, Hungary

'Dr. Ferenc Matits, an art historian has highlighted that David Beeri is a master of synthesiying different styles, and renders the conclusion on the reminiscence of styles powerful in a unique, personal tone...' 

On the artworks of David Beeri (Extract)

Simplicity and goodness. Honesty and directness. Self-awareness and humility. Verity. Hope. The light of love and peace. These words could also well describe the art of David Beeri. I was, however, sitting in his studio and thinking about how his paintings express the dramatic clash for me, and about where the conflictual power of these works comes from.

The paintings are based on ancient, deep, archaic, and instinctive knowledge, and at the same time on the expression of the irradiation of a superior spiritual light. The instinctive and intellectual fields meet in the paintings of Beeri; being the ancient and the divine. The darkness and the night meet the light and the eternal brightness.

In the eyes of female creatures we can both observe fear and hope, the pain of passing away and the miracle of impregnation, the holiness of birth. In his inner, visional landscapes the transcendent, mystical light paths are built on a magical realistic composition: they objectify the reality of imagination. The tension between instinctive and intellectual when meeting each other can be experienced in the metaphoric flowers of Beeri. Hidden by the flowers we can recognize the archaic picture of motherhood and a spiritual light.

The artist has created a unique, new universe of painting. In case we want to identify this romantic novelty with expressions known from art history or aesthetics, however, only the portraits or the expressive symbolism in case of some fictional, inner sceneries, while in other places the grotesque viewpoints or the lyric surrealism, as well as the already mentioned magical realism come to our minds…

Dr. Ferenec Matits, an art historian has highlighted in his portrait prepared a few years ago that David Beeri is a master of synthetizing different styles, and renders the conclusion on the reminiscence of styles powerful in a unique, personal tone. In his art he mixes the greatest traditions of cubist, naive, realist, and surrealist arts. 

David Beeri himself could find the expression spiritual impressionism, which could well reflect that unitedness in the diversity, the illustrious traditions which we can recognize on his works of art. As light, the shades of colors gained significant role in the plein-air painting style of classical impressionism; the chromatic relations visible in clear irradiation have often created the composition itself.

Spiritual impressionism, however, could define the shades in which the irradiation of the spirit can be expressed, the relation between the artist and a superior existence. Regarding this the artist himself provides us with some additional information: he is happy to talk about the secrets of his studio, about the process of painting.

Shading itself is a novelty in his case. The source of light is the background itself, while the work of art emerges from it. Light, that is, spiritual light embraces the whole work of art. Some kind of mystical irradiation. It is a must for creating the power of expression that all motives are embraced with a light coming from the inside. His paintings own some inner light.

Whatever is that David Beeri depicts, intending by means of his synthetizing talent to express the original instinct as perfectly as possible, everything is in harmony in his display of differing themes and motives, all originating from a common spiritual root. He often tells the followings, I have also read it and personally listened to his words about it: „The Bible says that the kingdom of God does not come in a visible way, it is within you. He declares at another time, that if someone intends to enter this kingdom, they need to rebirth. This rebirth provided me with the key opening the door to the spiritual world. I am able to open this gate now. Hence art has already reached the final boundaries of three dimensions. The further path leads into the world of spirituality”.

By his paintings, David Beeri also wants to give us a key to this spiritual transubstantiation. He spiritualizes the physical, visible world, and in order this, in a paradox way, he also needs to use material, physical, nonspiritual tools.  His works of art, however, do work this way. Secrets are waiting for being revealed. Shining.

Dr. Ferenc Vitéz, 2005


Spiritual Reflection 

Dr. Ferenc Vitéz, 2007

Point of View (Nézőpont), Vol. II. May-June 2007, Hungary

The motives of David Beeri's works after 1984 were cherished by the sheer, immaterial spiritual light. There is no shadow of this light, only degrees it has. In this pictorial world nothing reminds us of the motions of the material world. The phenomena of this world follow the laws of their own spiritual force.

David Beeri's private collection of paintings in the Mysticism Gallery

It was one and a half year ago when David Beeri’s paintings (and graphics) were displayed at a solo exhibition in the city centre. The Mysticism Gallery, located in Bethlen Street, based its artistic program on the mystical painter around the theme of “the irradiation of the spiritual light”.

The artist always has guests. These guests are music, literature, other artists, and other branches of arts. This year, for example, the art exhibition for the 60th birthday of Imre Kurucz sculptor has been organized, and until the end of May, the ceramic exhibition, which displays the works of six industrial artists, can be visited in the Gallery. (László Majoros, the manager of the gallery, explained his latest choice for the exhibition, and said that the fantasy created in the works of industrial arts well fits into the mystical and mysterious works of Beeri.) Besides the hips-ceramics made by Erzsébet B. Szabó, the works of Katalin Lovas and Péter Rácz mixing the secessionist form culture with archaized symbolic attributes, the works of Andrea Vertel, some grotesque-playful, coloured burnt clays occupy the place. (According to the plans, we can further enjoy the desacralized world of the latter artist originating from tales – her works are further staying in the gallery.)

The newest composition opened at the beginning of April is created based on the painting of Metamorphosis. The selected works are from the private collection of Gyula Tombor, who has been showing interests for Beeri’s painting since 1995. The collector explained why the paintings of David Beeri affected him so much, that, after the discovery of Metamorphosis, he became so inspired to consciously search for other works of art alike:

“It seemed that I entered into another world spiritually, where an inexpressible and marvellous light emerged from heaven which gave rebirth to hills and valleys to become immortal and irradiate the infinite fame of creation for eternity. Long minutes passed before I returned to my common world. My first thought was that I wanted this picture, I could not exist without it anymore…”

Since then, he has been continuously collecting Beeri’s works – he displayed more than thirty paintings from his private collection at this exhibition – and Gyula Tombor is (also) convinced that the art of David Beeri has a fundamental place in universal painting.

Ágoston Székely is also convinced, and as a critic and art writer does the most to make Beeri’s authentic and uniform world of creation understood and recognised. I have read in the representative album of Beeri, the publishing of which was scheduled at the time of the opening of the exhibition, that from the dualism of rebellion and atonement he rather chose the path of atonement for which choice he was supported by the willpower of the “inside man” who is being identified deeper and deeper with the divine experience.

“The motives of David Beeri’s works after 1984 were cherished by the sheer immaterial spiritual light. There is no opposition of this light, only degrees it has. The landscapes, the flowers, the faces this way appear as spiritual creatures without any traces and effects of counter power. In this pictorial world nothing reminds us of the motions of the material world, gravitation is the least of all, for example. The phenomena of this world follow the laws of their own spiritual force.”

Although the paintings can be summons of distant worlds, depictions of visions or tales, the most important of all “is the resurrection of ancient mystic found in personal divine experience”. Székelyhidi also states that the authenticity of David Beeri is guaranteed by his inherent talent and his personal view rooted in the present time as well.

“He does not return to the medieval Christian religious motives of arts and aspects but as a man at the turn of the 20th and 21th century, he creates a new mystical art. He does not take over the history of the ancestors’ divine experience into the present time, but he makes his personal divine experience part of the mysticism of our time.

That is why he is regarded as one of the founders of the new mysticism by the contemporary artistic trends.

I have also written a short essay to his smaller album about the radiation of the spiritual light. In this essay I recited keywords characterizing the art of Beeri: Simplicity and goodness. Honesty and directness. Self-awareness and humility. Verity. Hope. The light of love and peace. The paintings are based on ancient, deep, archaic, and instinctive knowledge, and at the same time on the expression of the irradiation of a superior spiritual light.

The instinctive and intellectual fields meet in the paintings of Beeri; being the ancient and the divine. In the eyes of female creatures we can both observe fear and hope, the pain of passing away and the miracle of impregnation, the holiness of birth. In his inner, visional landscapes the transcendent, mystical light paths are built on a magical realistic composition: they objectify the reality of imagination. From the metaphoric flowers of Beery, we can recognize the archaic picture of motherhood and a spiritual light. Earlier, Ferenc Matits art historian highlighted that David Beeri masterfully synthesizes different styles, and renders the conclusion on the reminiscence of styles powerful in a unique, personal tone.

He thinks David in his art mixes the greatest traditions of cubist, naive, realist, and surrealist arts.

David Beeri could find the expression spiritual impressionism itself, which could well reflect that unitedness in the diversity. Spiritual impressionism, however, could define the shades in which the irradiation of the spirit can be expressed, the relation between the artist and a superior existence. His paintings own some inner light. The paintings offer the visitors some kind of symbolic code to the spiritual transubstantiation. Transubstantiates the physical, visible world and in a paradox way, he has to use materialistic, physical, materiality tools for this. But his paintings “work”.

But how can this light predominate and characterize at an exhibition where not the painter but from its point of view, in a certain way, the displayed material chooses. Ágoston Székhelyhidi asks the same question in his opening speech in a way that in a multiple mirror reflection game how the taste, values, and the aspects of the selection system of the collector characterize the art of David Beeri, respectively what the works of the artist tell about the spiritual characteristics of Gyula Tombor.

To what extent does the subjective selection of the collector reflects the artistic world of Beeri independent from him? To a large extent, according to Székelyhidi, as he immediately grabbed the essence of Beeri’s art, then he collected his painting in the light of this. This is metamorphosis, it is not simply a transfiguration or transformation, but transubstantiation. The material motive ascends in spiritual environment. 

So, where is this light from? Maybe it is the light of the divine energy freed during the spiritual transubstantiation.

Dr. Ferenc Vitez, 2007

David's son Benjamin Beeri, tenorist, Budapest 2017

'Family Ties', a Documentary About David Beeri

Dr. Ferenc Vitéz, 2008

Point of View (Nézőpont), Vol. III. April-May 2008, Hungary

The documentary of Helge Lindau pictures a day of the Beeri family - starting from the gallery and returning to the gallery.

“I am pleased to have a successful concert this evening, and I am very happy that my children do not have to experience the things that I had to.”

This sentence, complemented with Barnabás Beeri’s virtuoso piano play, closes the documentary film, 'Familienbande', presenting the painter, David Beeri and his family, made by Helge Lindau for the ZDF German television channel.

The first public showing of the documentary was on 14th March in Debrecen in the Mysticism Gallery, hosting a permanent exhibition of David Beeri. Helge Lindau, the producer and director of the documentary also attended the ceremony, where David Beeri presented his newest paintings before going on an American exhibition tour at the end of March, while the Beeri children made a music performance.

It was a long way from the years of poverty spent in Nyírmihálydi to independent exhibitions and to the fact that David Beeri now can have a big, balanced, educated and peaceful family. All of his eight children learn music, Barnabás has concerts independently and the audience has already heard the other children playing the alto violin, the saxophone, and the trumpet as well. 

The documentary of Helge Lindau pictures a day of the Beeri family – starting from the gallery and returning to the gallery. We recall the opening scenes: the painter is showing his new painting to László Majoros, who is talking about the perspective leading to completeness, the focus of the light as it calls us on our way towards the Golgotha hill, the light of the universe and about the following fact:

It does not matter from which perspective we watch it, the direction is obvious…

Dr. Ferenc Vitéz, 2008

Through the Eyes of an Expert 

László Györke, 27 July 2008

Sunday East Magazine (Vasárnapi Kelet), Hungary

“His works are absolutely modern, but at the same time archaic. Due to his unique usage of materials and brush-work, he is able to create detailed, picture-like surfaces, which can only be copied with the latest means of computer technology.  His usage of light and shades is unique as well."

László Majoros, gallery manager, says the followings about the art of David Beeri:

“His works are absolutely modern, but at the same time archaic. Due to his unique usage of materials and brush-work, he is able to create detailed, picture-like surfaces, which can only be copied with the latest means of computer technology.  His usage of light and shades is unique as well. The source of the light is the background itself, it represents itself independently from the artist; created with the hands of the painter, in a mysterious way it creates a work which resembles a dream, therefore the lights are also unique.

The usage of colors is characterized by the application of generally used colors, but during the artistic process these colors are formed to provide fine transitions due to some technical and spiritual metamorphosis and appear to be a fascinating, special colorism in the end.

In the painting world of David Beeri, the structure of the pictures is unique as well. I think some deeper analysis of his works could define particular deepness in the structures created by means of a high level of rationalism, for example in the area of geometry of perspectives. (Redemption I, II, III, IV, Secret, Star, Metamorphosis, Light Flowers, Water of Life, Tear Flowers, Waterfall, etc.).

The drawing technique of the master is of similar novelty. His preciseness is almost that of an engineer’s; his precision is beyond boundaries. The floating lines — together with the emotional richness hidden in them — are formed to a unified dramatic tendency, smoothly nestling to the spiritualized vision of the work itself.

The meaning behind these works is also something new. As we continually submerge into the paintings, it becomes clear that the master — by using the usual means and motives of paintings — creates a picturesque world, which is beyond the limits of space and time. His paintings, besides the vision itself, represent a supernatural existence, which is secretly connected by the artist with the material world restrained by the three dimensions. That is how transience meets eternity and the vision of ancient creation appears in front of our eyes, being formed in a perfect order. (Spiritual Well, Heaven and World, Light-Channel, Light River II, Tulip Perspective, In Light, Spiritual Light, Flower Islands, Light Dance).

Art Studios One

After the Other

János Komiszár, 7 June 2002

Panorama Periodical, Debrecen, Hungary

“Light is his target to reach, the bearer of the eternal.”

The painter David Beeri

He was born in Nyírbéltek in 1951. 1975 was a turning point in the life of the painter, as it was the year when he finished his very first painting. At that time he met a painter from Debrecen who recognised his talent for arts and supported him professionally. His works have been displayed at various exhibitions since 1977. He has been an artist by profession since 1982. He lived in Germany for two years, from 1987 onwards; those years have broadened his horizons. He was painting and exhibiting. He had some success but his homesickness proved to be stronger. He moved back to Hungary and since then he has been living with his family in a small gorgeous village located in the Nyírség, named Nyírmihálydi.

He is a versatile artist. Not only does he paint with dedication and natural talent, but he likes writing poems, composing or playing music.

The eclecticism of his art is not disturbing; moreover, his personal tone kept beside his ability to synthesise provides his works an authentic postmodern value. Unusual inner light irradiates from his paintings. An exhibition of David Beery has been opened in the hall of Titász Rt.

− You are a father of eight children. How can you reconcile the role of being the head of the family and an artist at the same time?

− I like having the role of the father very much. To have everything work, you need willpower and determination. It is a question of being concentrated. Everything works if I have the right attitude. I have little time to spend on my painting during the day, but I make it up at night, I have to cut my leisure time significantly.

− What should we know about your family?

− My wife is bringing up the children, and she can utilize her skills as a teacher. Six of my children go to elementary or music schools, the eldest one goes to a secondary music school in Debrecen.

− You are said to be a versatile artist. Why is this so?

− I started my career as a musician and I think I could have had success if I hadn’t given it up for painting. I could have been a violinist or a music composer. I was not able to fulfil both careers simultaneously. In painting, I received invitation for national exhibitions only after three and a half years’ experience. I only deal with music as a hobby now; I make some short musical works and practice voice articulation. What is more, sometimes I sing and write poems.

− A painter helped you a lot at the beginning of your career. Who is he? Do you consider him to be your master?

− I have learned a lot from Károly Bodó, painter, as well as others, but I consider nobody to be my master. I would say so only to show respect towards them, but the truth is different. Mainly talent decides whether one becomes an artist or not. A master can put you on the right professional path, but that is all.

− Did you have a spiritual master?

− If I want to be ideological and sincere, I do have a spiritual master. God himself. He inspires my spirit. I feel myself as a tool in his His hands to be able to achieve everything He wants. This is spiritual painting, the painting of the spirit.

− You are hard-working with your paintings. What meaning would you like to convey with them, and how do you prepare your suggestive works conveying conscious contents?

− As I have mentioned, I got something from God that I have adopted. I assess, appreciate and act. I emphasize that it is not mine. Look at the background of one of my paintings. In the background some kind of a spiritual light can be seen, something superterrestrial, beyond the three dimensions. This is more than the material world; this is the world of God. The light fills up the background, which basically creates the motive itself. The picture just emerges, shapes itself. It is a spiritual creation, a metamorphosis. What I do is the manifestation of a new creation.

− What techniques do you work with?

− As for the material, I work with traditional ones; the painting technique I use is completely unique. The transition of the colours has to be marvellously subtle, invisible. The canvas and the technique of brush usage have to be similar. There is no place for disharmony, only harmony can be present. There is only harmony in God. The shading technique is a novelty as well. The source of light is the background itself from where the whole work comes, infiltrated with the spiritual light.

− To what extent do you consider yourself an experimental type?

− I am as much an experimental type as God wants me to be; He is the one who always shows me something new. He shows me the technique, the theme, and the colours. It involves experimentation. The colours have to speak with marvellous harmony through my paintbrush.

− What colours do you prefer the most?

− The basic ones. There are no other colours. However I can alter them, that is why it is a brand new world that I create. For example, I create the blue colour from many other colours, sometimes I use a colour that even a painter would be astonished at. But it remains blue, aerial blue. Many people think that I use some kind of mechanical intervention for my paintings.

− How much of your dreams are put into your works?

− I would like to comprise my dreams completely, but I do not care about it, I do it the way I can.

János Komiszár, 2002


'David Beeri's art is matchless and unreproducible in every aspect.'

Dr. Ferenc Matits, Art historian


Email: contact@davidbeeri.com

Phone: (001) 682 - 414 - 1952

Location: Fort Worth, Texas, USA


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