The fruits of a friendship (part two)

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06 March 2009

The costumes were an altogether different matter for with them he wanted to strike a definite chord; Heindel was no stranger to the reality of death having lost his eldest son Toby to cancer just a few years prior. The loss was raw and extremely influential in the artist's ongoing work and in turn the costume concept.

The character of death, with his alarming shock of primitive wild hair and a blue face with two further heads on his torso, would appear at once menacing and a visual focus whenever on stage, impossible to ignore. Heindel recalled the need for a slight re-think on his initial desire for Death to have blue arms and hands when, after some initial rehearsals, the hand prints of Death were literally all over his dance partners!

Another striking device Heindel employed upon the female costumes, beyond the simple leotards and skirts, was a broad scarlet line from neck vertically down the whole torso, a kind of line of life in distinct contrast to Death. This vitality was furthered with the male costumes of colourful lively stripes. The barre itself also appears in scarlet, its horizontal form providing visual structure as well as literal support for the dancers and a point from which to leave and return.

Of course, beyond the genuine pleasure of designing for The Dance House, Heindel was then in the unique position of being able to paint impressions of 'his own' ballet costumes and set. Indeed he followed San Francisco Ballet, for whom Bintley originally created the work, to Cupertino (CA) in order to access dress rehearsals. A few months later whilst The Dance House received its San Francisco premiere, concurrently The Circle Gallery hosted a spectacular exhibition that unveiled Heindel's enigmatic paintings of a ballet in which he had been a central influence.

The visual drama of Death dancing with life, the strident blue and red almost leaping from the black backdrop of the canvas, really did set the tone for the powerful yet poignant collection, which itself was a celebration of memories intended to be embraced way beyond those of choreographer and artist.

From 1995 until his death in 2005, Heindel observed many of Bintley's ballets including Carmina burana, Edward II, and The Protecting Veil, each time creating a suite of paintings and drawings which would then be exhibited and sold in the UK, as well as on the international market especially in Japan and the USA. During this ten-year period, Birmingham Royal Ballet dancers 'captured on canvas' include Monica Zamora, Leticia Müller, Ambra Vallo, Robert Parker, Joseph Cipolla, Michael O'Hare and many more besides.

One Bintley ballet, above all others, yielded the most significant response from Heindel in terms of sheer output, that work being Arthur. Since childhood the American had been fascinated by the legends and imagery that Camelot had cast: brooding menace, chivalry, love, vengeance and betrayal all the vital ingredients of any 'good tale'. To learn of Bintley's intention to bring King Arthur to the dance stage was to prove pure indulgence as far as Heindel was concerned. Here he was able to immerse himself in the whole experience. He travelled to Birmingham from the USA on numerous occasions, desperate not to miss anything; his pleasure simply doubled when he found that Arthur would comprise two full-length pieces. The anticipation was reflected in the artist's studio where he created the largest collection of paintings and drawings from any single ballet.

The high regard Heindel and Bintley had for one another's work was mutual, Heindel ever ready to accept the open invitation to view Birmingham Royal Ballet extended by the Director and choreographer.

'I am constantly amazed and delighted that the greatest painter of dance since Degas should find such inspiration in my own work' David Bintley, 1998

ENDS

Colin Rawlings is a publisher and the representative for Robert Heindel's estate. For further details of original paintings, drawings and limited editions, call 01263 710 287, or see www.thereddotgallery.com.

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