The Red Cat Artist: Heinrich Campendonk (German, 1889–1957)


Modern and Contemporary Art

Not on view

Oil on canvas


75.3 × 85 cm (29 5/8 × 33 7/16 in.)

Credit Line

Gift of Collection Société Anonyme

Accession Number



20th century


Note: This electronic record was created from historic documentation that does not necessarily reflect the Yale University Art Gallery’s complete or current knowledge about the object. Review and updating of records is ongoing.



Heinrich Campendonk, 1926–27; Katherine Dreier, 1927–41; Collection Société Anonyme; Yale University Art Gallery, New Haven Conn.
  • Ruth L. Bohan et al., The Société Anonyme: Modernism for America, ed. Jennifer Gross, exh. cat. (New Haven, Conn.: Yale University Art Gallery, 2006), 191, ill.
  • Ein Maler des Baleuen Reiter, exh. cat. (Krefeld, Germany: Kaiser Wilhelm Museum, 1989).
  • Andrea Firmenrich, Heinrich Campendonk, 1889–1957: Leben und expressionistische Werk (Recklinghausen, Germany: Aurel Bongers, 1989).
  • Robert L. Herbert, Eleanor S. Apter, and Elise K. Kenney, The Société Anonyme and the Dreier Bequest at Yale University: A Catalogue Raisonné (New Haven, Conn.: Yale University Press, 1984), 132, no. 125, ill.
  • Heinrich Campendonk, 1889–1957, exh. cat. (Kaiserslautern, Germany: Pfalzgalerie Kaiserslautern, 1982).
  • Ruth L. Bohan, The Société Anonyme's Brooklyn Exhibition: Katherine Dreier and Modernism in America (Ann Arbor, Mich.: University of Michigan Research Press, 1982), 136, fig. 18.
  • Aurel Bongers, ed., Die Rheinischen Expressionisten, Auguste Macke und seine Malerfreunde, exh. cat. (Bonn, Germany: Städtische Kunstmuseum, 1979).
  • Heinrich Campendonk, Edith van Leckwyck, exh. cat. (Munich: Galerie Wolfgang Ketterer, 1976).
  • Heinrich Campendonk: Gemalde, Aquarelle, Hinterglasblider, Grafik, exh. cat. (Düsseldorf: Stadtische Kunsthalle, 1972).
  • Mathias T. Engels, Campendonk als Glasmaler (Krefeld, Germany: Scherpe, 1966).
  • Paul Wember, Heinrich Campendonk: Krefeld 1889–1957 Amsterdam (Krefeld, Germany: Scherpe, 1960).
  • Mathias T. Engels, Campendonk: Werkverseichnis der Holzschnitte (Stuttgart: Kohlhammer, 1959).
  • Mathias T. Engels, Heinrich Campendonk (Cologne, Germany: E. A. Seemann, 1957).
  • Collection of the Société Anonyme: Museum of Modern Art 1920 (New Haven, Conn.: Yale University Art Gallery, 1950), 81.
  • Katherine S. Dreier, James Johnson Sweeney, and Naum Gabo, Three Lectures on Modern Art (New York: Philosophical Library, 1949), 26.
  • George Heard Hamilton, "The Exhibition of the Collection of the Societe Anonyme: The Museum of Modern Art, 1920," Bulletin of the Associates in Fine Arts at Yale University 10, no. 3 (December 1941): 4, ill.
  • W. Harley Rudkin, "Art in the News," Springfield Daily News (November 16, 1939): 7.
  • "Springfield: A Review of the Societe Anonyme," Artnews 38, no. 9 (December 2, 1939).
  • W. G. Rogers, "Art Column," Springfield Union (November 16, 1939), 10.
  • Richard S. Brooks, "Some New Forms of Beauty 1909–36 Shown at Museum," Daily Republican (November 15, 1939), 7.
  • "Paintings of Nudes Consigned to Cellar," Toronto Daily Star (April 4, 1927).
  • Catherine J. Rich, "Four Children and the Moderns," Brooklyn Museum Quarterly 14, no. 1 (January 1927): 23–24.
  • Elizabeth L. Cary, "Experimental Art at Brooklyn Museum: Out of a Rut, Societe Anonyme Exhibits Work of Well-Known Moderns," New York Times (November 21, 1926), 11, sec. 8.
  • Walter Schüereyer, Heinrich Campendonk (Frankfurt: Verlag Zinglers Kabinett, 1920).
Object copyright
Additional information


cat flowers


Signed l.r. "HC 26"

Technical metadata and APIs


Open in Mirador

View IIIF manifest

The International Image Interoperability Framework, or IIIF, is an open standard for delivering high-quality, attributed digital objects online at scale. Visit to learn more

Linked Art

API response for this object

Linked Art is a Community working together to create a shared Model based on Linked Open Data to describe Art.