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Signed and titled

According to Rick Stewart, “Higgins was enthralled by Taos, telling one writer that the area had captured him ‘because of the light. There is the best light to be found anywhere. There is more color in the landscape and the people than elsewhere. And besides this there is the constant call here to create something.’

“Higgins had learned from his teacher Henri how important it was for the artist to identify closely with his subject, and to translate the spirit of that subject into form and color. The scenes of Taos life which he painted were created through attention to mass, line, and tone; initially one could identify specific subjects in his work, but gradually Higgins began to emphasize a greater emotional effect arrived at through the medium of the paint itself, though his subjects did not become any less realistic. As his friend Ernest Blumenschein observed, Higgins possessed ‘a painter’s style.’ Before long Higgins began to paint pure landscape and still life in an effort to move away from the more anecdotal or picturesque works of his fellow Taos artists.”

Dean A. Porter, Ph. D., Victor Higgins an American Master (Layton, UT: Gibbs Smith, 1991), p 164, illustrated

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