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Early 20th Century and Taos Society of Artists Learn More

By 1912, Blumenschein, Oscar E. Berninghaus, E. Irving Couse, W. Herbert 'Buck' Dunton, and Joseph Sharp had arrived in Taos. These five plus Phillips shared a strong attraction to Taos and formalized their relationship by creating the Taos Society of Artists, which existed from 1915 to 1927. The Society sent traveling shows of its Members' works throughout the country. The images they created, frequently of American Indians in traditional garb, northern New Mexico Hispanos and old-timer Anglo-Americans, as well as landscapes, came to define the first decades of the art colony.

Wikipedia: https://en.wikipedia.org/wiki/Taos_Society_of_Artists

Artist: Victor Higgins
Title: Canyon Landscapes
Date: c. 1932
Medium: Watercolor on paper
Dimensions: Overall: 17 11/16 x 21 5/8 in. (45 x 55 cm) frame: 24 1/4 x 30 1/4 in. (61.6 x 76.8 cm)
Victor Higgins United States (1884-1949)
Painter. At fifteen, Victor Higgins defied his parents’ wishes and left his native Indiana for Chicago, where he studied at the Art Institute and the Academy of Fine Arts. Sponsored by ex-mayor and collector Carter Harrison, Higgins spent two and half years studying and traveling in Europe. While in Munich, he associated with fellow art students Walter Ufer and Martin Hennings. The year after his return (1914), Harrison sent him on a painting trip to New Mexico. There Higgins found the strong light, brilliant color, and lure of the land a powerful antidote to the confines of academic training. He joined the Taos Society of Artists in 1917, but he continued to divide his time between Chicago and Taos for some years and to exhibit in Indianapolis and New York, with an occasional painting sent to Europe. As a link between his more conservative colleagues and the emerging artistic developments of the twentieth century, Higgins wedded theory to his own intuitively derived visual harmonies. The result was a rich and varied body of work in still life, figure painting, and, most significantly, landscape.


References
Art Gallery of the University of Notre Dame and the Indianpolis Museum of Art. Victor Higgins. Notre Dame, Ind.: Art Gallery of the University of Notre Dame and Indianapolis Museum of Art, 1975.

Bickerstaff. Pioneer Artists of Taos, pp. 175–93.

Art Museum of South Texas. Victor Higgins in New Mexico. Corpus Christi: Art Museum of South Texas, 1984.

Charles Eldredge, Julie Schimmel, and William H. Truettner Art in New Mexico, 1900–1945: Paths to Taos and Santa Fe (Washington, DC: National Museum of American Art, Smithsonian Institution, 1986)


https://americanart.si.edu/artist/victor-higgins-5975
c. 1932
Victor Higgins
Artist: Joseph Henry Sharp
Title: Chant To The Warbonnet
Date: c. 1920
Medium: Oil on canvas
Dimensions: Overall: 25 x 30 1/8 in. (63.5 x 76.5 cm) frame: 29 5/8 x 34 5/8 in. (75.2 x 87.9 cm)
Joseph Henry Sharp (1859-1953)
c. 1920
Joseph Henry Sharp
Artist: Ernest L. Blumenschein
Title: Deserted Mining Camp
Date: c.1940
Medium: oil painting, canvas
Dimensions: Overall: 27 1/16 x 33 1/4 in. (68.7 x 84.5 cm)
Ernest L. Blumenschein (1874-1960)
Ernest Blumenschein, American artist, was a colorful and controversial figure whose character was marked by fierce determination. A supporter of Post-Impressionism, Ernest Blumenschein’s own style is marked by the use of deep, rich colors and a strict sense of spatial geometry and rhythm. Possibly the most complex and least understood member of the TaosSociety, Ernest L Blumenschein’s southwestern pictures were born of the artist’s interest in formal integrity and harmony rather than a desire to accurately portray pueblo culture.

Similar to several of his later Taos colleagues, Ernest Blumenschein was of modest Midwesterner beginnings. He was born inPittsburgh, PA and earned a scholarship to study at the Cincinnati College of Music after graduating from high school. He took an illustration class at the Cincinnati Art Academy and decided to pursue a career in the visual arts. In 1892, he moved to New York to study at the Art Students League. He soon became convinced that European study was necessary to establish himself as a professional artist and enrolled at the Academie Julian in Paris, where he became acquainted with Bert Phillips and J.H. Sharp. Sharp regaled the younger artists with tales of his 1893 visit to Taos.

Upon his return from Paris in 1896, Blumenschein worked as an illustrator in New York, where he shared a studio with Phillips. After and assignment that took him to Arizona and New Mexico, Blumenschein went west with Phillips in 1898. When a broken wagon wheel landed the artists in the nearby town of Taos, Phillips decided he had reached the end of his journey.

Blumenschein stayed in Taos for 3 months returning to his lucrative illustration career in New York and eventually to Paris for further study at the Academie Julian in 1899. During his stay in New York he met Mary Green and married her. She was an established artist whose work was often featured in the annual Salon.


After their return to New York in 1909, the couple worked as an illustration team and Blumenschein taught at the Art Students League. He began to spend his summers in Taos, New Mexico, and settled there permanently in 1919. https://sites.google.com/site/parsonsartists/home/ernest-l-blumenschein

c.1940
Ernest L. Blumenschein
Artist: Victor Higgins
Title: Fish Ponds
Date: c. 1930
Medium: Watercolor on paper
Dimensions: Overall: 14 15/16 x 22 1/16 in. (38 x 56 cm) frame: 23 3/4 x 31 in. (60.3 x 78.7 cm)
Victor Higgins United States (1884-1949)
Painter. At fifteen, Victor Higgins defied his parents’ wishes and left his native Indiana for Chicago, where he studied at the Art Institute and the Academy of Fine Arts. Sponsored by ex-mayor and collector Carter Harrison, Higgins spent two and half years studying and traveling in Europe. While in Munich, he associated with fellow art students Walter Ufer and Martin Hennings. The year after his return (1914), Harrison sent him on a painting trip to New Mexico. There Higgins found the strong light, brilliant color, and lure of the land a powerful antidote to the confines of academic training. He joined the Taos Society of Artists in 1917, but he continued to divide his time between Chicago and Taos for some years and to exhibit in Indianapolis and New York, with an occasional painting sent to Europe. As a link between his more conservative colleagues and the emerging artistic developments of the twentieth century, Higgins wedded theory to his own intuitively derived visual harmonies. The result was a rich and varied body of work in still life, figure painting, and, most significantly, landscape.


References
Art Gallery of the University of Notre Dame and the Indianpolis Museum of Art. Victor Higgins. Notre Dame, Ind.: Art Gallery of the University of Notre Dame and Indianapolis Museum of Art, 1975.

Bickerstaff. Pioneer Artists of Taos, pp. 175–93.

Art Museum of South Texas. Victor Higgins in New Mexico. Corpus Christi: Art Museum of South Texas, 1984.

Charles Eldredge, Julie Schimmel, and William H. Truettner Art in New Mexico, 1900–1945: Paths to Taos and Santa Fe (Washington, DC: National Museum of American Art, Smithsonian Institution, 1986)


https://americanart.si.edu/artist/victor-higgins-5975
c. 1930
Victor Higgins
Artist: Burt Harwood
Title: Indian Interior
Date: 1921
Medium: Oil painting
Dimensions: Overall: 32 1/16 x 39 15/16 in. (81.5 x 101.5 cm)
Burt Harwood United States (1857-1922)
BURT HARWOOD Elihu Burritt Harwood was born in Charles City, Floyd county, Iowa, in 1855. According to a document called "Certificate of Registration of American Citizen" created by the Consul General of the United States of America, in Paris France, Burt Harwood is an American Citizen who was born 26 November 1855 in Charles City, Iowa. It further states that Burt arrived in France April 24, 1908 for the purpose of "study." It said he was married to Elizabeth Case who was born in "Charles City, Ia." They lived at 65 Boulevard Arago in Paris.

In the 1890's, according to one source, Burt and his wife, Elizabeth, moved to France in order to further his artist career. They remained there for about 20 years, coming back to the United States in 1916, and settling to Taos. Actually, from Charles City, Iowa, Burt moved to Minneapolis, Minnesota for a time, before moving to France, and apparently later moved to Taos, New Mexico and then for a time back in Minneapolis before returning to Taos, where he died.

Burt died from what was probably tuberculosis, in 1922, at the age of only 67. Within about a year after his death, his wife converted their residence into the Harwood museum. The home/museum is located at 238 Ledoux Street, on the corner of Ledoux and Ranchitos Road. The Harwoods had bought the house shortly after coming to Taos. It had been owned by Smith H. Simpson's heirs; Simpson, who had been an aide to Kit Carson, and Taosena Josepha Valdez had build the house in the 1860's. It was long known as El Pueblito, because it looks a lot like the Taos Pueblo.


http://iagenweb.org/floyd/bios/harwood/harwoodburt.htm
1921
Burt Harwood
Artist: Burt Harwood
Title: Katchinas
Date: 1921
Medium: Oil painting
Dimensions: Overall: 20 11/16 x 14 9/16 in. (52.5 x 37 cm)
Burt Harwood United States (1857-1922)
BURT HARWOOD Elihu Burritt Harwood was born in Charles City, Floyd county, Iowa, in 1855. According to a document called "Certificate of Registration of American Citizen" created by the Consul General of the United States of America, in Paris France, Burt Harwood is an American Citizen who was born 26 November 1855 in Charles City, Iowa. It further states that Burt arrived in France April 24, 1908 for the purpose of "study." It said he was married to Elizabeth Case who was born in "Charles City, Ia." They lived at 65 Boulevard Arago in Paris.

In the 1890's, according to one source, Burt and his wife, Elizabeth, moved to France in order to further his artist career. They remained there for about 20 years, coming back to the United States in 1916, and settling to Taos. Actually, from Charles City, Iowa, Burt moved to Minneapolis, Minnesota for a time, before moving to France, and apparently later moved to Taos, New Mexico and then for a time back in Minneapolis before returning to Taos, where he died.

Burt died from what was probably tuberculosis, in 1922, at the age of only 67. Within about a year after his death, his wife converted their residence into the Harwood museum. The home/museum is located at 238 Ledoux Street, on the corner of Ledoux and Ranchitos Road. The Harwoods had bought the house shortly after coming to Taos. It had been owned by Smith H. Simpson's heirs; Simpson, who had been an aide to Kit Carson, and Taosena Josepha Valdez had build the house in the 1860's. It was long known as El Pueblito, because it looks a lot like the Taos Pueblo.


http://iagenweb.org/floyd/bios/harwood/harwoodburt.htm
1921
Burt Harwood