Rudolf J. Heinemann

Pinakos, Inc.
Heinemann-Fleischmann

American, died 1975

Explore Selected Works

See all 31 works of art
Giuseppe Angeli, An Elderly Bishop, c. 1750, black, white, and red chalks on light brown laid paper, Bequest of Lore Heinemann in memory of her husband, Dr. Rudolf J. Heinemann, 1997.57.3

An Elderly Bishop

Giuseppe Angeli · c. 1750 · black, white, and red chalks on light brown laid paper ·  Accession ID  1997.57.3

Against a gold background, a man places a crown onto a woman’s head as they sit side-by-side on a wide throne surrounded by winged angels in this vertical painting. The arched area over the throne comes to a point, and is carved with leaves around the arch. The three-dimensional leaves are painted gold against the ocean-blue background. All the people and angels have pale skin with a greenish cast, though their cheeks are blush pink. They all have dark eyes, long, straight noses, and their small red mouths are closed. They all have long, wavy, blond hair except for the woman, Mary, whose head is covered. The flat gold halos around every person and angels’ heads are punched with clusters of three dots. The man, Jesus, sits to our right on the throne and looks toward Mary as he places a crown on her bowed head with one hand. He holds a long staff in his other hand, which rests in his lap. His hair falls around his shoulders, and he wears a gold-trimmed, buttercup-yellow robe under a lapis-blue cloak that wraps over one shoulder and across his lap. The woman looks at us while holding both hands up to gesture toward Jesus. She wears a rose-pink dress under a blue mantle, which drapes over her head, shoulders, and arms. Her mantle and Jesus’s robe are painted with gold lines to indicate folds. One shoe peeks out from under Mary’s hem, and Jesus’s feet are bare. They both sit on an olive-green cushion on the gold throne. The eight angels are spaced over the throne, and are smaller in scale, about half the size of Mary and Jesus. Each looks across toward the others, and they wear robes of rose pink, lapis blue, or forest green. The round neckline of each has a wide gold band, and many hold long staffs. Two angels hold up a ruby-red cloth behind Mary and Jesus, and the back of the throne curves in a half moon above the cloth. The half moon has a shell design at the center and is painted with gold stars against a cobalt-blue background along the top, curving edge. The roman numerals “CCCXXIIII” are painted on the base of the throne, near Jesus’s feet.
Master of the Washington Coronation, The Coronation of the Virgin, 1324, tempera on poplar panel, Samuel H. Kress Collection, 1952.5.87

The Coronation of the Virgin

Master of the Washington Coronation · 1324 · tempera on poplar panel ·  Accession ID  1952.5.87

A light-skinned man with short, auburn-brown hair and a long beard is shown from the hips up, his chest and sloping shoulders covered by a muted cobalt-blue cape in this vertical portrait painting. His body is angled to our left and he looks at us from the corners of his brown eyes under curving, low brows. His head, torso, aquiline nose, and hands are slightly elongated. He holds a black hat in his right hand, on our left, close to his body. His left hand emerges from a white sleeve painted with swirling brushstrokes, as he presses a small book to his chest, holding it open with one page caught between thumb and index finger. The lower edge of his cape drapes over that arm, revealing rose-pink lining. He stands with his back to a grayish-green wall that does not span the width of the composition. Slivers of other spaces, possibly rooms, are suggested by tall, narrow views of windows and arched openings along the sides of the painting.
Pontormo, Monsignor della Casa, probably 1541/1544, oil on panel, Samuel H. Kress Collection, 1961.9.83

Monsignor della Casa

Pontormo · probably 1541/1544 · oil on panel ·  Accession ID  1961.9.83

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

A woman sits in the center of this vertical panel painting and gazes down at a baby lying across her lap while two winged angels hold up a red, gold, and black brocade-like patterned cloth behind her. All the people have pale skin, pink cheeks, blond hair, and flat, gold halos. The woman’s body is angled slightly to our right, and she holds her hands crossed over her chest as she gazes down at the baby. The woman has a straight, pointed nose and a small, pink-lipped mouth. Her azure-blue robe covers her head and drapes over much of the crimson-red dress beneath. The edge of the robe and cuff of her dress are trimmed in gold. The baby lies with his arms slightly raised, and he looks up at the woman. His hips and legs are wrapped with sheer white cloth. The angels in the upper corners of the panel both wear robes in the same azure blue of the woman, and the garments have a gold band around the high waist and gold around the neckline. They look at the woman and hold up the cloth that falls behind and under her and the baby.
Fra Angelico, The Madonna of Humility, c. 1430, tempera on panel, Andrew W. Mellon Collection, 1937.1.5

The Madonna of Humility

Fra Angelico · c. 1430 · tempera on panel ·  Accession ID  1937.1.5

Shown from the waist up, a pale-skinned man is angled slightly to our right with his hands together in prayer in this vertical portrait painting. The man’s slightly bulging blue eyes lift to look up and to the right. Wrinkles line his forehead and the corners of his eyes and lips. His cheeks are hollow, and the temple we see slightly sunken. He has a long nose, bags under his eyes, and his thin lips are pressed together in a line over a pointed chin. Straight brown hair parts to either side of his high forehead and falls to just beneath his ears. His raspberry-red shirt has a high black collar, and a dark, burgundy red scarf drapes over his far shoulder. All of his fingertips touch except for the pinkies, which pass each other to make an X shape. The man is evenly lit against a brown background.
Anonymous Artist, Portrait of a Donor, c. 1470/1475, oil on hardboard transferred from panel, Samuel H. Kress Collection, 1961.9.66

Portrait of a Donor

Anonymous Artist · c. 1470/1475 · oil on hardboard transferred from panel ·  Accession ID  1961.9.66

Francisco de Zurbarán, Spanish 17th Century, Saint Jerome with Saint Paula and Saint Eustochium, c. 1640/1650, oil on fabric, Samuel H. Kress Collection, 1952.5.88

Saint Jerome with Saint Paula and Saint Eustochium

Francisco de Zurbarán, Spanish 17th Century · c. 1640/1650 · oil on fabric ·  Accession ID  1952.5.88

A dozen people surround a woman reclining in a bed in front of a gleaming gold background in this vertical painting. All the people have pale skin. Red curtains drape from a shallow awning hanging over the head of the bed to our right, and the foot of the bed almost reaches the left side of the panel. The woman on the bed, Saint Clare, lies back against pillows with her hands crossed over her chest and her eyes closed. A white cloth covers her body from the waist down. She and two women attending to her from behind the head of the bed wear nun’s habits with black robes and head coverings over high-necked white collars. A row of five women line up along the far side of the bed, looking at Saint Clare. They all have blond hair, pointed noses and rounded cheeks, and they all have crowns surrounded by halos, which have been punched into the gold leaf background. Their dresses are in shades of vivid blue, forest green, white, or burgundy red and gold. Each holds a different object, including one with what looks like the model of a castle tower and another a small basket of flowers. The woman closest to Saint Clare holds the nun’s face in her hands. On our side of the bed, two more blond women kneel and lean onto the bed. One near the foot of the bed wears a maroon-red and gold brocade robe and holds a tiny dragon. The other kneels near Saint Clare, wearing royal-blue robes, and is accompanied by a minuscule sheep. Two smaller, seated women flank the woman in blue on our side of the bed. They are about half the size of the other people, and they wear nun’s habits but with gray robes rather than black. Both look at open books in their laps. Two blond, winged angels hover within the awning over Saint Clare’s head swinging incense burners. A bearded, haloed man in a blue field at the top center of the panel and holds a tiny, crowned person, and looks down at Saint Clare. The gold background is punched and incised with a decorative band at the inner edge of the panel, and also to create regiments of musicians and winged angels along the top quarter of the composition.
Master of Heiligenkreuz, The Death of Saint Clare, c. 1400/1410, oil on panel, Samuel H. Kress Collection, 1952.5.83

The Death of Saint Clare

Master of Heiligenkreuz · c. 1400/1410 · oil on panel ·  Accession ID  1952.5.83

Giovanni Battista Piazzetta, Saint Stephen, 1730s/1740s, charcoal on blue paper (now faded) heightened with white chalk, Bequest of Lore Heinemann in memory of her husband, Dr. Rudolf J. Heinemann, 1997.57.6

Saint Stephen

Giovanni Battista Piazzetta · 1730s/1740s · charcoal on blue paper (now faded) heightened with white chalk ·  Accession ID  1997.57.6

Gaspar van Wittel, A View of Rome from Santa Maria del Priorato, c. 1710, pen and brown ink and gray wash with red chalk on laid paper, Bequest of Lore Heinemann in memory of her husband, Dr. Rudolf J. Heinemann, 2000.97.3.a

A View of Rome from Santa Maria del Priorato

Gaspar van Wittel · c. 1710 · pen and brown ink and gray wash with red chalk on laid paper ·  Accession ID  2000.97.3.a

Bibliography

1975

  • "Rudolf J. Heinemann, 73, Dies; Was an International Art Dealer." The New York Times (9 February 1975): 48:7.