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According to Rick Stewart, “Martin Hennings was another artist who, like Walter Ufer and Victor Higgins, came to Taos from Chicago. Hennings had studied at the Art Institute before going abroad to Munich for advanced study. The events of World War I forced Hennings to return to Chicago where he secured some lucrative mural commissions and won top prizes in local exhibitions. His trip to Taos resulted when a group of local patrons took a strong interest in his work. Like several other artists who came to the area, Hennings remained active on the national level, visiting other areas and exhibiting widely, as well as taking some time to travel abroad. But Taos soon became the artist’s spiritual home, and he became a permanent resident there in 1921. He was equally at home as a landscape or figure painter, and his works typically exhibited a concern for line, contour, and pattern that had marked his earlier work in Chicago. ‘In every picture I expect the Fundamentals to be observed, which I term—draftsmanship, design, form, rhythm, color,’ he later was quoted as saying. ‘Art must of necessity be the artist’s own reaction to nature and his personal style is governed by his temperament, rather than by a style modeled through the intellect.’

“According to those who knew him, Hennings primarily worked outdoors since one of his most important subjects was natural light. Generally he worked on the background first, laboring over the correct placement of the various elements in a landscape.”

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