Untitled

In the 1930s, Victor Higgins worked in watercolor extensively, under the influence of artist John Marin who had visited Mabel Dodge Luhan in 1929 and 1930. Higgins, in following Marin's example, sought to capture the essence of nature and signs of its rhythms. He introduced intersecting diagonals and planes of color into his work as a means of creating visual harmonies equivalent to music. Higgins also favored winter scenes in Taos and likely painted this winter scene near the base of the Taos Mountains.