'Still Life' and the Penguin Cafe
This is one of Heindel's recurring credos. His canvases based on David Bintley's balletic plea for a range of endangered species, was a turning point which shifted an already hugely popular artist into a different, deeper artistic landscape. This was his first major canon of work after the death of his son Toby in 1990."
Study for At The Penguin Cafe (1993)
Robert Heindel American Painter (1938 - 2005) Charcoal on Vellum 24 inches (w) x 36 inches (h)
Southern Cape Zebra - Study (1993)
Robert Heindel American Painter (1938 - 2005) Charcoal on Vellum 24 inches (w) x 36 inches (h)
Southern Cape Zebra - Study (1993)
Robert Heindel American Painter (1938 - 2005) Charcoal on Vellum 24 inches (w) x 36 inches (h)
Southern Cape Zebra - Study (1993)
Robert Heindel American Painter (1938 - 2005) Charcoal on Vellum 36 inches (w) x 24 inches (h)
Robert Heindel American Painter (1938 - 2005) Oil on Board 53 inches (w) x 46 inches (h) The central painting to Heindel's 1995 Cork Street exhibition, 'Still Life' at The Penguin Cafe. On stage a trio of female zebra characters in their constantly agitated state seek shade beneath the acacia forms whilst the protective male patrols. In his painting Heindel chose a surreal twist, foregoing the true legs and feet of the dancer. Heindel's title 'White Mischief' was a direct reference to the novel of the same name by James Fox, the decadence and immorality within the pages in part reflected on the stage at Covent Garden.