Provenance

Mrs. Rudolf J. Heinemann

Heinemann, Lore

American, died 1996

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See all 29 works of art
A man and woman greet each other at the center of a group of about a dozen people set within a landscape in this horizontal painting. All the people have pale, peachy skin. In the middle of the crowd, a woman, Abigail, kneels to our left while a man to our right, David, reaches out to her. Abigail’s blond hair is tied back under a white veil that drapes over her shoulders, and she wears a slate-blue dress and a string of pearls around her neck. She holds her left hand, on our right, to her chest and her other hand gestures down to a basket of bread held by a man in the lower left corner of the painting. David stands and bends toward Abigail as he cups her bent elbow with his left hand. His other hand rests on a walking stick near her head, and his index finger is extended as if to brush her cheek. He has short, curly blond hair and beard, and he wears a thigh-length tunic under a breastplate. Crimson-red fabric drapes around his shoulders and over his armor, and a dagger or short sword hangs at his hip. Three women, three men, and a donkey gather to our left, behind Abigail. Two of the men hold large baskets of bread, and they all look toward Abigail and David. Six armored men, two younger people, and two horses make up the group to the right. Trees line a hill behind the people to our left and dark gray and amber-colored clouds fill the sky.
Sir Peter Paul Rubens, The Meeting of David and Abigail, c. 1630, oil on panel, Bequest of Lore Heinemann in memory of her husband, Dr. Rudolf J. Heinemann, 1997.57.8

The Meeting of David and Abigail

Sir Peter Paul Rubens · c. 1630 · oil on panel ·  Accession ID  1997.57.8

A parrot perches on a branch to the left next to some artichokes, a vase of flowers, and a dish of cherries in this horizontal still life painting. Light comes from the top left corner, and the objects are arranged across a cream-white stone ledge with stepped molding on the underside. The front left corner of the molding is near the left edge of the painting, and the ledge continues off the right side of the canvas. The parrot has a muted green body, yellow and blue head, red-streaked wings, and a hooked beak. It faces our right in profile. The source of the branch on which it perches is difficult to make out. It does not seem to be coming from the stalks of artichokes lying to our right of the bird, and the back end of the stick is lost in shadow. Seven cigar-sized pea pods lie on the ledge next to the three artichoke stalks. Ruby-red cherries shimmer in the light, and they are interspersed with a variety that is pale yellow and blush red and some unripe cherries. Two more pea pods are on this pale blue dish, which has a low pedestal foot, with the cherries. Behind the cherries and peas is a vase with sky-blue and nearly black irises, vivid red poppies, shite flowers, and a red flower with layers of small, rounded petals. The background is slate gray where the light falls across the far wall and deep in shadow beyond that.
Italian 17th Century, Still Life with Artichokes and a Parrot, 17th century, oil on canvas, Bequest of Lore Heinemann in memory of her husband, Dr. Rudolf J. Heinemann, 1998.23.2

Still Life with Artichokes and a Parrot

Italian 17th Century · 17th century · oil on canvas ·  Accession ID  1998.23.2

Shown from the waist up behind a forest-green ledge or tabletop, a bearded man with a ruddy complexion strums a six-stringed lute between two, light-skinned people in this horizontal painting. The green ledge runs close to the bottom edge of the canvas, and the people nearly fill the composition. The musician’s body faces us but he looks up and off to our left with gray eyes under arched brows, with lips parted. His long brown hair is covered with a red hat wrapped with a pale, pink band. The ribbon meets in a bow-like form near the front center, and tassels hang to each side. His voluminous coat has wide, burnt-orange fur lapels and is lined with fur where it splits open over his shoulders. The garment below has dark sleeves. He lifts his right shoulder high over the lute as the instrument rests on the tabletop, with the neck to our right. The soundhole at the center is covered with rosette-like tracery. The man to our left has long, straight, dark brown hair and a cleft in his chin, which is darkened with a five o’clock shadow. He looks down and toward the musician with brown eyes over a long nose, and his lips are closed. He wears a black cloak with a fur collar over a white shirt, and holds a red book. To our right, a young person, possibly a man with delicate features, stands with his body angled toward the musician but he turns his face to look at us with gray eyes. He has flushed cheeks, a long, straight nose, and a rounded chin. He has shoulder-length, wavy brown hair parted down the middle, and he wears a red cloak also with a fur lapel, over a cream-white undershirt. A crumpled white cloth and a small, oval-shaped box with its lid askew sits on the green surface near the lute. The background behind the trio is elephant gray.
Cariani, A Concert, c. 1518-1520, oil on canvas, Bequest of Lore Heinemann in memory of her husband, Dr. Rudolf J. Heinemann, 1997.57.2

A Concert

Cariani · c. 1518-1520 · oil on canvas ·  Accession ID  1997.57.2

This painting shows a seated woman with closed eyes, seen from the waist up. She is on the left side of the painting, her body turned to the right and her head facing us. She has pale skin, a white cloth covering their hair, and a black cloak over a black dress with long sleeves. She appears to be sleeping, her eyes closed and her expression neutral. In the bottom left corner, a small black-and-white dog looks up at her, its paws resting on her back. In the background on the right is a white cross with a white male figure hanging from it. He has a cloth wrapped around his waist and a crown of thorns on his head. Behind the cross is a blue sky with white and gray clouds. The top, bottom, and right edges of the painting have reddish-brown borders that blend into the sky.
Giovanni Battista Piazzetta, Saint Margaret of Cortona, 1737, oil on canvas, Bequest of Lore Heinemann in memory of her husband, Dr. Rudolf J. Heinemann, 1997.57.9

Saint Margaret of Cortona

Giovanni Battista Piazzetta · 1737 · oil on canvas ·  Accession ID  1997.57.9

Two groups of people face off in front of a hilly landscape in this loosely painted, vertical scene. On our left, a pale young man in a white tunic looks with eyes wide and lips parted at a group of three people on our right. The young man's right hand, on our left, is raised to stroke the head of a reddish-brown horse at his right shoulder. He stands with feet planted wide, knees bent, and he curls his left hand into a fist. Behind him, a man holds up a fluttering, light blue cape. A mottled red wall forms a backdrop to this scene on our left. The tight group gathered under a tree on our right stares back at the young man. The trio is made up of a balding, older man, a light-skinned boy also wearing a white tunic, and, closest to us, a brown-skinned woman wearing a marigold-orange shirt and a maroon-red skirt. Behind this group, a pair of pale raised arms suggests a fourth person, but the head is missing or has been painted over. The ground under the people is saffron orange. In the center of the picture, beyond the people, a group of horses stands near a green bank by a river, its surface reflecting white. The far bank is lined with white buildings. Tan and olive-green slopes rise from the opposite riverbank under a pale blue sky with cream-white clouds sweeping along the top edge of the composition. The artist signed his name in red paint in the lower right corner: “Degas.”
Edgar Degas, Alexander and Bucephalus, 1861/1862, oil on canvas, Bequest of Lore Heinemann in memory of her husband, Dr. Rudolf J. Heinemann, 1997.57.1

Alexander and Bucephalus

Edgar Degas · 1861/1862 · oil on canvas ·  Accession ID  1997.57.1

This is an image showing two semi-abstract human figures reclining on a cloud with an additional face in the foreground. The male figure has his arm raised and the female figure is facing slightly towards the viewer. Below them, there is an additional face that seems to be part of the cloud. The drawing is done in light brown ink, capturing the interaction and movement between the figures and the clouds.
Giovanni Battista Tiepolo, Bacchus and Ariadne, c. 1745, pen and brown ink and brown wash over black chalk on laid paper, Gift of Mrs. Rudolf J. Heinemann, in Honor of the 50th Anniversary of the National Gallery of Art, 1991.79.1

Bacchus and Ariadne

Giovanni Battista Tiepolo · c. 1745 · pen and brown ink and brown wash over black chalk on laid paper ·  Accession ID  1991.79.1

The image depicts a male figure in a seated position, facing forward. The figure is drawn in a dynamic pose, with their torso turned slightly to the left. The person's head is tilted to the right, looking upwards. The face shows defined features such as cheekbones, a jawline, and a nose. The person has short to medium wavy hair. The figure appears muscular and is drawn nude. The right hand holds a large rectangular object, while the left arm extends outward with the hand pointing forward. There are no visible accessories or items being held. The background is a plain blue-gray textured surface, with the figure and objects outlined in a reddish-brown hue.
Carlo Maratta, A Seated Man Holding a Tablet, red chalk with white heightening on blue laid paper, Gift of Mrs. Rudolf J. Heinemann, 1988.5.1

A Seated Man Holding a Tablet

Carlo Maratta · · red chalk with white heightening on blue laid paper ·  Accession ID  1988.5.1

This is a drawing of a group of figures engaged in a dynamic scene. The drawing demonstrates swirling lines and fluid forms that suggest movement and interaction among the figures. Light and shadow are rendered through washes of ink, creating a sense of depth and volume. The characters appear to be gathered in a moment, possibly portraying a narrative or allegorical theme. The composition uses diagonal lines and curvilinear shapes, accentuating the central activity within the scene. The style of ink wash gives it a fluid feel, capturing a moment with simplicity.
Giovanni Antonio Pellegrini, The Madonna and Child in Glory with Saint Theodore and a Monastic Saint, 1708/1722, pen and brown ink with brown wash over black chalk on laid paper, Gift of Lore Heinemann and Andrew Robison, 1998.28.5

The Madonna and Child in Glory with Saint Theodore and a Monastic Saint

Giovanni Antonio Pellegrini · 1708/1722 · pen and brown ink with brown wash over black chalk on laid paper ·  Accession ID  1998.28.5

The image shows a landscape with a river, a group of figures by the water's edge, and architectural elements in the distance. The river divides the scene, with buildings and a tall tower visible on the horizon. The artwork features detailed line work and cross-hatching, using a subdued color palette dominated by earthy tones.
Marco Ricci, A Fortified Village along a River, 1727/1729, pen and brown ink over traces of graphite; Zanetti mount, Gift of Mrs. Rudolf J. Heinemann, 1988.26.1

A Fortified Village along a River

Marco Ricci · 1727/1729 · pen and brown ink over traces of graphite; Zanetti mount ·  Accession ID  1988.26.1

This is a drawing of a scene with nature, a statue, and ancient architecture. The drawing depicts a detailed and dynamic scene set in what appears to be a garden or wooded area with architectural elements. The central focus is a plinth with a statue of a small, winged figure holding a bow and arrow. Below, a draped figure appears startled or contemplative. To the right, there are glimpses of architectural structures suggesting an outdoor setting. The foliage is dense, with large trees framing the background. Ink and wash techniques are used to create light and shadow for a dramatic effect.
Jean-Baptiste Greuze, Sacrifice to Love, c. 1766, gray and black wash over graphite on laid paper, with framing line in dark brown ink, Bequest of Lore Heinemann in memory of her husband, Dr. Rudolf J. Heinemann, 2000.97.1

Sacrifice to Love

Jean-Baptiste Greuze · c. 1766 · gray and black wash over graphite on laid paper, with framing line in dark brown ink ·  Accession ID  2000.97.1