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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

Sorted AscendingTitleDateArtistClassificationDimensions
Baumgarten Twins1923E. Martin Hennings
E. Martin Hennings (1886-1956)
Painter, printmaker. After graduating from high school, Hennings left his native Pennsgrove, New Jersey, for five years of study at the Art Institute of Chicago. His training continued with two years at the Royal Academy in Munich. Fellow art students in Munich included Walter Ufer and Victor Higgins. In 1914, at the outbreak of World War I, Hennings returned to Chicago, where he made his living as a muralist and commercial artist. At the urging of former Chicago mayor Carter Harrison, Hennings spent a few months in Taos in 1917. Four years later, he made Taos his permanent home, joining the Taos Society of Artists in 1924. Hennings’s favorite subject was the Indian, whom he often posed singly or in groups against a bright foliage curtain. His compositions, featuring stylized line, decorative patterns, and warm colors, won him twelve national prizes between 1916 and 1938.


https://americanart.si.edu/artist/e-martin-hennings-2169
painting Overall: 14 3/16 x 14 3/16 in. (36 x 36 cm) frame: 19 5/16 x 19 5/16 in. (49.1 x 49.1 cm)
Canyon Landscapesc. 1932Victor Higgins
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
painting 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)
Chamisa in Bloomc. 1920E. Martin Hennings
E. Martin Hennings (1886-1956)
Painter, printmaker. After graduating from high school, Hennings left his native Pennsgrove, New Jersey, for five years of study at the Art Institute of Chicago. His training continued with two years at the Royal Academy in Munich. Fellow art students in Munich included Walter Ufer and Victor Higgins. In 1914, at the outbreak of World War I, Hennings returned to Chicago, where he made his living as a muralist and commercial artist. At the urging of former Chicago mayor Carter Harrison, Hennings spent a few months in Taos in 1917. Four years later, he made Taos his permanent home, joining the Taos Society of Artists in 1924. Hennings’s favorite subject was the Indian, whom he often posed singly or in groups against a bright foliage curtain. His compositions, featuring stylized line, decorative patterns, and warm colors, won him twelve national prizes between 1916 and 1938.


https://americanart.si.edu/artist/e-martin-hennings-2169
painting Overall: 30 x 36 1/4 in. (76.2 x 92 cm)
Chant To The Warbonnetc. 1920Joseph Henry Sharp
Joseph Henry Sharp (1859-1953)
painting 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)
Christmas Eve at Taos Pueblo1961Dorothy Eugenie Brett
Dorothy Eugenie Brett Great Britain (1883 - 1977)
Dorothy Eugénie Brett was a British painter, remembered as much for her social life as for her art. Born into an aristocratic British family, she lived a sheltered early life. During her student years at the Slade School of Art, she associated with the Bloomsbury group. Among the people she met was novelist D. H. Lawrence, and it was at his invitation that she moved to Taos, New Mexico in 1924. She remained there for the rest of her life, becoming an American citizen in 1938. http://en.wikipedia.org/wiki/Dorothy_Brett

Her work can be found in the Smithsonian American Art Museum in Washington D.C., in the Millicent Rogers Museum and the Harwood Museum of Art, both in Taos, at the New Mexico Museum of Art, Santa Fe, the Roswell Museum and Art Center, Roswell, New Mexico and in many private collections. http://en.wikipedia.org/wiki/Dorothy_Brett

painting Framed: 49 3/4 × 41 1/2 × 3 in. (126.4 × 105.4 × 7.6 cm)
Deserted Mining Campc.1940Ernest L. Blumenschein
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

painting Overall: 27 1/16 x 33 1/4 in. (68.7 x 84.5 cm)
Discussing The Cropsn.d.E. Martin Hennings
E. Martin Hennings (1886-1956)
Painter, printmaker. After graduating from high school, Hennings left his native Pennsgrove, New Jersey, for five years of study at the Art Institute of Chicago. His training continued with two years at the Royal Academy in Munich. Fellow art students in Munich included Walter Ufer and Victor Higgins. In 1914, at the outbreak of World War I, Hennings returned to Chicago, where he made his living as a muralist and commercial artist. At the urging of former Chicago mayor Carter Harrison, Hennings spent a few months in Taos in 1917. Four years later, he made Taos his permanent home, joining the Taos Society of Artists in 1924. Hennings’s favorite subject was the Indian, whom he often posed singly or in groups against a bright foliage curtain. His compositions, featuring stylized line, decorative patterns, and warm colors, won him twelve national prizes between 1916 and 1938.


https://americanart.si.edu/artist/e-martin-hennings-2169
painting Overall: 13 15/16 x 14 1/16 in. (35.4 x 35.7 cm) Framed: 20 1/8 x 20 1/16 in. (51.1 x 51 cm)
Fish Pondsc. 1930Victor Higgins
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
painting 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)
Gingerc. 1932W. Herbert "Buck" Dunton
W. Herbert "Buck" Dunton United States (1878-1936)
William Herbert Dunton was born in Augusta, Maine, in 1878. His lifelong passion for the outdoors was nurtured from an early age by his grandfather, who took him on expeditions, teaching him about hunting and fishing. Drawing the outdoors followed naturally. As a child, Dunton was self-taught, developing a precise style that would lead to a successful career as an illustrator. He first sold drawings to a magazine at age 16, when he quit school to work as a professional illustrator.

http://www.buckdunton.com/
painting Overall: 50 13/16 x 33 7/8 in. (129 x 86 cm)
Husking Corn1939Mary G. Blumenschein
Mary G. Blumenschein United States (1869-1958)
Born in New York City, Mary Shepard studied at the Adelphi Academy in Brooklyn and then at the Pratt Institute.[2] When she was only 17 years of age she left for Paris in 1886 where she worked with Raphaël Collin, an artist best known for establishing links with well-known artists working in Japan.
She entered the Salon d'Automne (Autumn Salon) in 1900 and was awarded a 3rd class honor. In 1900, she became the second woman artist (after Mary Cassatt) to win the Gold Medal.
In Paris in 1905, she met and married Ernest L. Blumenschein, also an artist. They moved back to New York in 1909 for the birth of their daughter, Helen. While there they taught at Pratt and did work for various magazines such as McClure’s, American and Century.[4]

Her husband discovered Taos, New Mexico after an accident stranded him there in 1898. While he made annual summer trips there Mary stayed in New York.[5] After the sale of a house she had inherited made them financially independent, they moved to Taos in 1919, eventually becoming part of the Taos Society of Artists.
http://en.wikipedia.org/wiki/Mary_Sheppard_Greene
painting Overall: 39 15/16 x 39 15/16 in. (101.5 x 101.5 cm)