Evening star., 1942-01-11
Bv Leila Mechlin.

i. The Corcoran Gallery of Art Is ex-
hibiting at this time q varied and
comprehensive collection of paint
tngs, drawings and prints by Eugene
Higgins Of New York and Lyme,
Conn, which will be found of excep-
q, tional interest. Mr.. Higgins was
born in Kansas City, Mo-, in 1874,
and studied at the Julian Academy
and the Ecole des BeauX Arts In
Paris. He is National Academician
and a member of the leading pro-
fessional art organizations in New
York and elsewhere. His paintings
and his prints are to be found IN
the most important public and pri-
vate collections in this country and
abroad. He is one of the few whose
work is held in high esteem by those
of the old school-and the new
and yet he is neither traditionalist
Dor modernist. Strangely enough,
what he does seems to be combina-
ton of the art of Millet and Of Rem
brandt, but by no means a precise
reflection Of either. 1t has chiefly to
do with those who toll and in feeling
1t is very dramatic. In his paintings
dark colors predominate-and there
Is often a tragic note. He has ap-
parently a strong sense of form, but
his drawing Is rather clumsy; what
ever he does stirs the emotions, Is
gravely serious and memorable.
The painter himself is not stern
or gloomy, quite the contrary
deeply interested in art but generous
in his sympathies, very good juror
and a kindly. friendly person. One
who lives simply but happily-half
the year in the great metropolis OF
New York-the other half in the
peaceful country in the Lyme Sec
ton of Connecticut.
Many of his subjects are of farm
dwellers who get their living from
the soil-but occasionally he essays
q religious theme like the cruciflxion
OF Gl1c lldGlVtGy dIlu SlNSo ~ 6ASoo
dignity as well as fervor.
Some years ago Duncan Phillips,
writing of American artists. had the
following to say of Eugene Higgins,
which is as true and applicable to-
dav as then: I'm the art OF this
painter and etcher." he said, there
Is an immediate suggestion Of the
massive silhouettes of Daumier and
of his concern for the derelicts OF
the great cities. Higgins. however,
is melodramatic by comparison and
his gloom is relieved neither by the
faintest CLINT of humor nor by any
hint that he would be capable OF
raising his bowed head. A continu-
ing absorption in gloom marks his
difference from the melodrama OF
Charles Dickens. Sometimes his con-
ceptions are made almost unforget-
table by powerful inevitable designs.
When he succeeds with his terrific
pessimism. his fierce invectives at a
civilization which permits poverty,
depreciation and famine, it is because
of the fact that the intense figures
and their backgrounds have grown
out of the subjects of Dore, Mellet
and Daumier. - Higgins concep-
tions and his methods are intensely
personal. His etchings contain all
that is best in his art of gaunt forms,
sinister shadows and fierce lights.
But the heavy colors Of his oil paint
ings express the smouldering passion
OF the man and his haunting Celtic
melancholy"
To those well acquainted with Hig-
gins work 1t is quite obvious that
he draws, paints and etches as may
seem to him natural and right
and while the dramatic in life may
appeal strongly to him, that IN itself
Is incidental to his art. Among all
our American artists today he Is
one of the most individual,