(1891-1965) Arthur William Heintzelman was a painter, etcher, teacher, and museum curator.
In his early work, a desire to document the common person is clear. Old men and women, peasants and paupers with weathered features, were later replaced by his favorite subject matter, children.
In addition to being a successful artist, Heintzelman held such positions as Keeper of Prints at the Boston Public Library and head of the Fine Arts department of the Rhode Island School of Design.
He was published in Fine Prints of the Year from 1923 to 1939, and Fifty Prints of the Year in 1934. Heintzelman resided and worked in various places such as Marblehead, MA; Boston; New York City; and Rockport, MA. In 1929 two of his listed addresses were: care of Frederick Keppel & Co., 16 East 57th Street in New York City; and 20-22 Route de la Croix, Le Vesinet (S&O), France.
Raised in Providence, RI, Heintzelman received his early art training at the Rhode Island School of Design. He also studied in Holland, France, Belgium, Spain, England, and Scotland. He was the author of More Books, the Boston Public Library; exhibition catalogs, art periodicals, and special articles on graphic artists. Books, articles, and pamphlets on Heintzelman: the American Etchers Series; the Crafton Collection; John Taylor Arms, in Print Collectors Quarterly (Feb.1937); and a complete catalog by the British Museum.
Heintzelman was a member of the National Academy of Design in New York City; the Chicago Society of Etchers; the Philadelphia Society of Etchers; the Society of American Etchers in Brooklyn, NY (later the Brooklyn Society of Etchers); the Audubon Artists in New York City; the Societe de la Gravure Originale en Noir in Paris; the Societe Nationale des Beaux-Arts in Paris; the American Art Association of Paris; the Providence Art Club in RI; the Marblehead Art Association in MA; the American Association of Museum Directors; the American Federation of Arts; the Metropolitan Museum of Art in New York City; the Salmagundi Club in New York City; the American National Commercial Engravers; and the California Printmakers. He was awarded the Logan Prize at the Art Institute of Chicago from 1920 to 1922; the Barnett Prize at the Society of Etchers in 1920; 1st prize at the California Society of Etchers in 1921; the Noyes Prize at the Brooklyn Society of Etchers in 1924; the Lea Prize at the Philadelphia Print Club in 1925; a prize at the Philadelphia Society of Etchers in 1924; a gold medal at the California Printmakers in 1934; a gold medal at the Paris International Exposition in 1937; prizes and medals at the Chicago Society of Etchers in 1915, 1920, and 1925; prizes at the Society of American Etchers in 1920 and 1924; a prize at the Society for Sanity in Art in 1939; prizes at the American Artists Professional League in 1929 and 1945; a prize at the Southern Printmakers in 1940; a prize at the Northwest Printmakers in 1941; prizes at the New England Women's Club in 1940 and 1945; a prize at the Library of Congress in 1945; a prize at the Wichita Art Association in 1946; a prize at the Montclair Art Museum in 1939. Heinzelman also exhibited annually with the National Academy of Design from 1933; Paris; Milan; Rome; Geneva; Lausanne; London, from 1925 to 1935 and nationally from 1917.