John Theodore Heins, also known by the name Dietrich Heins, stands as a notable figure in the landscape of early to mid-18th-century British art. A painter of German origin, Heins carved a successful career for himself primarily in Norwich, England, becoming one of the city's foremost portraitists during his active years. His work provides a valuable window into the society, aspirations, and aesthetic preferences of the provincial gentry and burgeoning middle class in Georgian England.
Early Life and Arrival in England
Born in Germany in 1697, the precise details of John Theodore Heins's early life and artistic training remain somewhat obscure, a common challenge when researching artists predating extensive record-keeping. It is not definitively known where in Germany he originated or under whom he received his initial instruction in the arts. However, the skills evident in his later work suggest a solid grounding in the prevailing Northern European traditions of portraiture, which emphasized detailed realism and a careful rendering of textures and likenesses.
By around 1720, Heins made the significant decision to relocate to England. This move was not uncommon for artists from the continent during the 17th and 18th centuries. England, particularly London, was seen as a place of opportunity, with a growing demand for art, especially portraits, fueled by an increasingly wealthy aristocracy and merchant class. While London was the epicenter, provincial cities like Norwich also offered fertile ground for artists who could cater to local elites. Heins chose Norwich, a thriving city in East Anglia, as his new home, a decision that would shape the course of his career.
Norwich: A Provincial Hub
In the 18th century, Norwich was one of England's largest and most prosperous provincial cities. Its wealth was built on the wool trade and textile manufacturing, and it boasted a vibrant cultural and intellectual life. The city was home to a significant number of affluent families, civic dignitaries, and clergy members, all of whom were potential patrons for a skilled portrait painter. The desire to commemorate one's status, family, and achievements through portraiture was strong, and Heins arrived at a time when this demand was robust.
Heins quickly established himself within this community. He became the go-to artist for many of Norwich's prominent citizens, capturing their likenesses for posterity. His ability to produce dignified and well-executed portraits resonated with the tastes of the local gentry and professional classes. He painted mayors, aldermen, clergymen, merchants, and their families, creating a visual record of Norwich society during the reigns of George I and George II.
Artistic Style and Influences
John Theodore Heins's artistic style is characteristic of much early Georgian portraiture, yet it possesses individual qualities. He was particularly adept at rendering the textures of fabrics – the sheen of silk, the richness of velvet, the intricate patterns of lace. This attention to costume detail was highly valued by his sitters, as clothing was a significant indicator of wealth and social standing. His portraits often convey a sense of sober dignity and quiet confidence, reflecting the self-perception of his clientele.
While direct tutelage is unknown, his work can be seen in the context of several artistic currents. The influence of German portraitists like Balthasar Denner (1685-1749), known for his meticulous detail and almost hyper-realistic rendering of skin and textures, can be discerned in Heins's careful execution. Denner's work was known in England and appreciated for its precision.
In England, the dominant force in portraiture in the decades preceding Heins's arrival had been Sir Godfrey Kneller (1646-1723), another German-born artist who became the leading court painter. Kneller's style, often grand and somewhat formulaic in his later years due to a busy studio, set a template for society portraiture. While Heins was not a direct pupil, he would have been acutely aware of Kneller's pervasive influence and the expectations it set for portrait painters. Michael Dahl (1659-1743), a Swedish painter and Kneller's main rival in London, offered a slightly softer, more sensitive approach that also contributed to the artistic milieu.
Heins's work also shows an affinity with the straightforward, honest likenesses favored by some British-born painters like Jonathan Richardson the Elder (1667-1745), who was not only a respected portraitist but also an influential writer on art theory. Richardson emphasized the importance of capturing the character of the sitter. Heins's portraits, while not perhaps as psychologically penetrating as some, aimed for a faithful representation that satisfied his patrons' desire for a recognizable and respectable image.
He operated in a period that saw a transition in British art. While the Baroque grandeur of Kneller was still influential, new trends were emerging. The Rococo style, with its lighter palette and more informal poses, began to gain traction, particularly through immigrant artists like Philip Mercier (c. 1689-1760). While Heins's work largely remained within a more conservative, established framework, the general artistic environment was one of change and development.
Representative Works and Patronage
John Theodore Heins produced a significant body of work during his career in Norwich. Many of his portraits remain in private collections, often passed down through the families of the original sitters, while others have found their way into public institutions, particularly those in the Norfolk region.
One of his notable works is the "Portrait of Thomas Du Quesne," painted in 1750. This painting, now in the collection of the Norfolk Museums Service, depicts its subject with the characteristic attention to attire and a dignified pose. Du Quesne was a member of a prominent Huguenot family in Norwich, highlighting Heins's connections with influential local communities.
Another significant example is the "Portrait of Judith Bedingfield," dated 1746. This work, likely a commission from another established Norfolk family, showcases Heins's skill in portraying female sitters, capturing the elegance of her attire, typically a rich blue dress, and a composed demeanor. Such portraits served not only as personal mementos but also as statements of social position.
Heins also painted figures of national importance who had connections to the region or whose portraits were commissioned for specific purposes. A particularly interesting commission was his "Portrait of George Frideric Handel," the renowned composer, painted around 1740. Handel, though based in London, had connections and performances that extended into the provinces. This portrait, now in the Handel House Museum archives, is a valuable contribution to the iconography of the great composer, showing Heins engaging with a sitter of international fame.
His oeuvre was not limited to straightforward bust or three-quarter length portraits. The "Allegory of Trade," held by the Yale Center for British Art, demonstrates a capacity for more complex, allegorical compositions, though portraiture remained his primary focus. This work likely reflects the commercial prosperity of Norwich and the pride its citizens took in their economic success.
Other documented works include:
"Portrait of Hewling Luson" (1723), an earlier example of his work in Norwich.
"A Pair of Portraits of a Couple" (1753), demonstrating his continued activity later in his career, often commissioned to commemorate marriages or significant family milestones.
"Portrait of Robert Crowe," another example of his work for local dignitaries.
"The Cream Jug" (1750), also in the Norfolk Museums Service, which might be a genre piece or a portrait with significant still-life elements, showcasing his versatility.
"Portrait of Lady Eye of Norwich" (1753), a work that has appeared on the art market, indicating the enduring interest in his paintings.
A pair of portraits titled "Herren- und Frauenporträt" (1753), sold at auction, further attesting to his output of companion pieces for married couples.
Heins also worked as an engraver, producing prints such as "Robertus Camell, LL D" (circa 1750). Engravings were an important way for artists to disseminate their images more widely and to supplement their income. Portrait engravings were popular, allowing admirers of a particular individual or collectors to own their likeness at a more affordable price than an oil painting.
His sitters were typically members of the local gentry, clergy, prosperous merchants, and civic officials. These were individuals who formed the backbone of provincial society, and Heins's portraits helped to solidify their status and preserve their memory. His consistent patronage over several decades speaks to his ability to satisfy the aesthetic and social requirements of this discerning clientele.
The Artistic Context of Mid-18th Century England
John Theodore Heins practiced during a fascinating period in British art. The early Georgian era was still heavily reliant on immigrant artists for high-quality portraiture. Alongside Heins, other foreign-born painters like Jean-Baptiste van Loo (1684-1745) and Andrea Soldi (c. 1703-1771) found success in England. Van Loo, in particular, enjoyed a period of great fashionable success in London in the late 1730s and early 1740s.
However, a native British school of painting was beginning to assert itself more forcefully. William Hogarth (1697-1764), Heins's exact contemporary, was a towering figure, though his fame rests more on his satirical "modern moral subjects" than his portraits, despite his considerable skill in the latter. Hogarth championed a distinctly British art, often railing against the perceived preference for foreign artists and old masters.
Portraiture remained the most lucrative genre. Thomas Hudson (1701-1779) became one of London's leading society portraitists in the mid-century, running a busy and successful studio. His style was competent and reliable, if sometimes uninspired. Hudson is also significant as the master of Joshua Reynolds. Allan Ramsay (1713-1784), a Scottish painter, brought a greater elegance and psychological acuity to his portraits, influenced by his studies in Italy and France. He became a favorite of the court.
Towards the end of Heins's life, the landscape of British art was on the cusp of a major transformation. Joshua Reynolds (1723-1792) and Thomas Gainsborough (1727-1788) were emerging as the dominant figures of the next generation. Reynolds, with his "Grand Manner" and intellectual approach, would elevate the status of British art and artists, becoming the first President of the Royal Academy. Gainsborough, with his fluid brushwork and sensitivity to character and landscape, offered a different but equally compelling vision.
While Heins was primarily a provincial painter, the artistic currents flowing through London would have had some impact, even in Norwich. Patrons travelled, and prints of works by London-based artists circulated, keeping regional centers informed of metropolitan tastes. Heins's success lay in his ability to provide high-quality, fashionable portraiture that met the specific needs of his Norwich clientele, perhaps without fully embracing the more flamboyant Rococo tendencies or the later academicism of Reynolds. He occupied a niche that valued solid craftsmanship and dignified representation. Other provincial painters, such as Thomas Bardwell (1704-1767), who also worked in East Anglia, operated in a similar market.
The Heins Family: A Legacy Continued
John Theodore Heins's artistic endeavors were continued by his son, John Theodore Heins the Younger (sometimes referred to as John Theodore D. Heins Jr.), who lived from 1732 to 1771. The younger Heins also worked as a portrait painter, following in his father's footsteps in Norwich. This continuation of the family profession was not uncommon, with skills and studio practices often passed from father to son.
While perhaps not achieving the same level of prominence as his father, John Theodore Heins the Younger contributed to the artistic life of Norwich, maintaining the family's reputation for portraiture into the next generation. The presence of two artists with the same name working in the same city can sometimes lead to confusion in attributions, but it also underscores the establishment of a local artistic lineage.
Collections, Auction History, and Enduring Reputation
Works by John Theodore Heins are held in several public collections, most notably the Norfolk Museums Service, which has a vested interest in preserving the work of artists significant to the region's history. The Yale Center for British Art in New Haven, Connecticut, also holds an example of his work, indicating his recognition within broader collections of British art. Many more pieces remain in private hands, cherished as family heirlooms.
Heins's paintings appear periodically on the art market, with auction houses offering his portraits for sale. The prices fetched vary depending on the subject, condition, and provenance of the work, but their continued presence in sales demonstrates an ongoing interest among collectors of British portraiture. For instance, his "Portrait of Lady Eye of Norwich" was estimated at €2,000-€3,000 and sold for a sum in that range, while the pair of "Herren- und Frauenporträt" had a similar estimate. These are respectable figures for a provincial painter of his era.
His reputation is primarily that of a competent and reliable provincial portraitist who served his community well. He may not have been an innovator on the scale of Hogarth or Reynolds, but his contribution to the visual record of Georgian Norwich is undeniable. Art historians specializing in British art of the 18th century recognize him as an important figure in the study of regional artistic practice.
Conclusion: A Norwich Master
John Theodore Heins died in Norwich in 1756, leaving behind a substantial body of work and a legacy as one of the city's most significant 18th-century artists. His career exemplifies the life of a successful provincial painter in Georgian England, catering to a local elite eager to see themselves and their families immortalized in oil. He provided a service that was both social and artistic, capturing likenesses with skill and a keen eye for the details that signified status and respectability.
His German origins and subsequent assimilation into English provincial society reflect a broader pattern of artistic migration that enriched British culture. While the London art scene often takes center stage in art historical narratives, figures like Heins demonstrate the vibrancy and importance of artistic production in regional centers. He navigated the prevailing tastes, from the lingering influence of Kneller to the more straightforward demands of his Norwich patrons, creating portraits that were both of their time and of lasting historical and artistic interest. His paintings continue to offer valuable insights into the people, society, and cultural aspirations of Norwich in the early to mid-18th century, securing his place in the annals of British art history.
