传

E.马丁亨宁斯出生在彭斯格罗夫，新泽西于1886年2月5日，德国移民父母。他出生两年后，亨宁斯的父亲举家搬到了芝加哥。

回顾他早期接触艺术，他决定追求生活和艺术家，亨宁斯说; “这是相当奇怪的是，我选择了绘画为我的职业，因为几乎没有我的家人表现出任何的艺术倾向。它发生了，当我12岁或13岁，另一个小伙子和我流浪到芝加哥艺术学院，这是那次访问，我立志成为一名艺术家在。那一天，我获得了该小册子向我表明艺术可以进行研究。从来没有发生，我认为。“

这是在1901年即开始亨宁斯在上课芝加哥艺术学院，这在很大程度上是基于伟大的欧洲艺术学校，并提出特别注重绘画的重要性。1904年6月17日，他从以优异的成绩在学校毕业，而是继续在那里学习了两年，大部分的指导下，约翰Vanderpoel。

亨宁斯最终拿起工作作为一个商业艺术家，大多画的壁画和画像芝加哥周围。上亨宁斯工作，通常在画布上面板的壁画，包括一个在芝加哥艺术学院，在佛罗伦萨宴会厅食堂议会广场酒店在芝加哥，和升天，画了一幅壁画恩主教大教堂在托皮卡，堪萨斯州。

走出返回美术绘画的愿望，他重新就读于芝加哥艺术学院的学校，并很快进入了，1912年，在该比赛一幅画巴黎高等美术学院在巴黎，为他获得二等奖。他很快就读于美术学院，慕尼黑在德国，的指导下安杰洛垃圾，沃尔特·托尔和弗朗茨冯卡住，谁是画家特别有影响力。在1914年1月，亨宁斯成为了一员美国艺术家俱乐部在德国慕尼黑与维克多希金斯和沃尔特·博爱团结运动，谁后来都成为同行艺术家协会陶斯。

之前第一次世界大战升级，亨宁斯搬迁回他的家乡芝加哥，最初居住在密歇根大道，那里的美术大楼路易斯Grell加入了他在短期内前两个搬到工作室，在芝加哥的北方著名的树工作室艺术家殖民地侧。这时亨宁斯还加入运行艺术家美术的调色板和凿学院，并在1916年与许多奖项，包括从调色板和凿子俱乐部金奖以及恩格尔伍德妇女俱乐部的奖金已经赢得了尊敬芝加哥在芝加哥艺术学院。

新墨西哥

亨宁斯很快就吸引了许多商家芝加哥和艺术的重视顾客，包括卡特H.哈里逊，小哈里森提供给赞助之旅亨宁斯参观和油漆中的陶斯，新墨西哥州，以换取他在逗留期间完成的作品。亨宁斯不是第一次收到这样的命题; 沃尔特·博爱团结运动和维克多希金斯俩都被哈里森三年前接触，并很快在永久落户西南。

亨宁斯接受了顾客的命题和周围陶斯度过了夏季和1917年秋季。哈里森提供亨宁斯以介绍到新创建的艺术新墨西哥博物馆在圣达菲，新墨西哥。对于开幕展在博物馆展出亨宁斯三幅画。在这一年，1917年，亨宁斯在美国展出了他的第一张画，芝加哥之外，在设计的美国国家科学院在纽约市，纽约州。

虽然亨宁斯很快前往回到芝加哥，继续他的工作，作为一个商业艺术家，三年后，他永久移动到陶斯。他的新家允许亨宁斯扩大过去商业技术的限制，自由地作画。在特别的艺术家是能够围绕周边陶斯地区自由旅行，绘画EN plein空气中显着光的强烈的自然美景科目，其中没有一个会在芝加哥已成为可能。部分原因是由于他的学历教育，亨宁斯“主要兴趣是肖像画，他的首要课题是印第安人居住在周围陶斯印第安部落。

同时继续在西南主要作画，亨宁斯经常展出在芝加哥。1922年他从芝加哥艺术学院以及学院的美术大楼奖授予克莱德M.卡尔奖。次年他在家乡的成功来自芝加哥艺术学院继续与马丁B.卡恩奖，再次为他的绘画的双胞胎。

艺术家陶斯学会

这样的荣誉贡献亨宁斯的声誉，并且也是在1923年，画家被提名奥斯卡E.贝宁豪斯和沃尔特·博爱团结运动在籍艺术家陶斯学会。但是，他没有当选当年的一员，但被重新提名次年，这个时候，收到了全票。

在一次旅行回到伊利诺伊州，1924年，亨宁斯遇到海伦·奥特，在芝加哥百货公司雇员马歇尔领域。两个人仅仅两年后结婚，1926年7月20日，并通过欧洲游历了16个月他们的蜜月，游览意大利，法国，西班牙和摩洛哥。

在他结婚前的几年里，亨宁斯完成了他的第一印像，八石版画各种西南科目。版画作了关于锌板和芝加哥印刷。在版画六; 在整个贤者，冰封流，通过鼠尾草和雪松，印度烘炉烘烤，下面的白杨，和猎人，首先印在50一版，后来又在100的印刷第二版陶斯印度和印度少女在有限的数量被生产了。亨宁斯只完成了一个其他的打印项目，该项目包括四个monotypes。

感觉这个组织已经走到尽头，并达到了它的旨意，在艺术家的陶斯学会于1927年解散它已发展到包括一些国家的最有成就的画家，包括约瑟夫·亨利·夏普，欧内斯特Blumenschein，伯特·菲利普斯G.，奥斯卡E.贝宁豪斯，E. 欧文：原因，W. 赫伯特·道顿，沃尔特·博爱团结运动，维克多希金斯和肯尼思·米勒·亚当斯。

成熟的职业生涯

到了1920年代，现在已经建立了画家是建立他在国家舞台信誉，与展览并获奖，其中包括：沃尔特·利平科特奖在宾夕法尼亚艺术学院（1925年），在lsidor奖章，并在游侠申购奖品设计的美国国家科学院在纽约（1926年）中，哈里弗兰克从芝加哥艺术学院奖（1927年） ，陈列在科克伦艺术画廊（1928年和1933年），并荣获一等奖1929年德州野花比赛。亨宁斯的成功并不仅限于美国，然而，他被列入1924年的威尼斯双年展，国际展览在巴黎于1926年，和1927年的巴黎沙龙。

许多艺术收藏家遍布美国找到了他的画。这样的私人赞助者包括卡特H.哈里逊，小，奥斯卡梅尔楼，罗伯特·麦基和拉彻斯塔克。亨宁斯还收到了支持艺术计划的公共工程和绘画和雕塑科，其中委托壁画选定的部位在范布伦，阿肯色，邮局。艾奇逊，托皮卡和圣菲铁路还广泛支持他的工作，包括委托具体作品的广告，并保持整个职业生涯亨宁斯的支持者。

死亡

E.马丁亨宁斯5月19日去世，1956年亨宁斯被安葬在他的家乡芝加哥，而不是他采用了陶斯镇，新墨西哥。

由亨宁斯今天的绘画被安置在下面的博物馆; 在史密森美国艺术博物馆，艺术斯塔克馆，展位西方艺术博物馆，CM·罗素博物馆，丹佛艺术博物馆，美国印第安人艾特尔乔格博物馆和西方艺术，吉尔克里斯博物馆，艺术新墨西哥博物馆，国家牛仔和西部遗产博物馆，罗克韦尔博物馆，美术，休斯敦美术馆，野生动物艺术国家博物馆和伍拉罗克博物馆博物馆。

Biography

E. Martin Hennings was born in Penns Grove, New Jersey on February 5, 1886 to German immigrant parents. Two years after he was born, Hennings’ father moved his family to Chicago.

Looking back on his early exposure to art and his decision to pursue a life as and artist, Hennings remarked; "It was rather strange that I chose painting for my profession, for practically none of my family showed any artistic tendencies. It happened that when I was 12 or 13 years old, another lad and myself wandered into the Art Institute of Chicago and it was during that visit that I determined to become an artist. That day I secured a pamphlet that showed me that art could be studied. That had never occurred to me.”

It was in 1901 that Hennings began taking classes at the School of the Art Institute of Chicago, which was largely based on the great European art schools and made particularly emphasis on the importance of drawing. On June 17, 1904, he graduated from the school with honors, but continued to study there for another two years, mostly under the instruction of John Vanderpoel.

Hennings eventually took up work as a commercial artist, mostly painting murals and portraits around Chicago. Murals on which Hennings worked, usually on canvas panels, include one for the cafeteria at the Art Institute of Chicago, the Florentine Ballroom at the Congress Plaza Hotel in Chicago, and The Ascension, a mural painted for the Grace Episcopal Cathedral in Topeka, Kansas.

Europe

Out of a desire to return to fine art painting, he re-enrolled at the School of the Art Institute of Chicago, and soon entered, in 1912, a painting in a competition at the Ecole des Beaux-Arts in Paris, for which he won second prize. He soon enrolled at the Academy of Fine Arts, Munich in Germany, under the direction of Angelo Junk, Walter Thor, and Franz von Stuck, who was particularly influential on the painter.In January 1914, Hennings became a member of the American Artists Club in Munich, Germany with Victor Higgins and Walter Ufer, who would both later become fellow Taos Society of Artists.

Before World War I escalated, Hennings relocated back to his hometown of Chicago and initially resided at the Fine Arts Building on Michigan Ave, where Louis Grell joined him for a short period before the two moved studios to the famous Tree Studio artist colony in Chicago's North side. At this time Hennings also joined the artist run Palette and Chisel Academy of Fine Art, and by 1916 had already gained respect in Chicago with a number of awards, including a Gold Medal from the Palette and Chisel Club as well as the Englewood Women's Club prize at the Art Institute of Chicago.

New Mexico

Hennings soon attracted the attention of a number Chicago businessmen and art patrons, including Carter H. Harrison, Jr. Harrison offered to sponsor a trip for Hennings to visit and paint in Taos, New Mexico, in exchange for the works he completed during his stay. Hennings was not the first to receive such a proposition; Walter Ufer and Victor Higgins had both been approached by Harrison three years earlier, and soon settled permanently in the Southwest.

Hennings accepted the patrons proposition and spent the summer and fall of 1917 in and around Taos. Harrison supplied Hennings with an introduction to the newly created New Mexico Museum of Art in Santa Fe, New Mexico. For the inaugural exhibition at the museum Hennings exhibited three paintings. In that year, 1917, Hennings exhibited his first painting in the United States, outside of Chicago, at theNational Academy of Design in New York City, New York.

Although Hennings soon traveled back to Chicago to continue his work as a commercial artist, three years later he moved permanently to Taos. His new home allowed Hennings to expand past the limitations of commercial art, to paint freely. In particularly the artist was able to freely travel around the area surrounding Taos, painting en plein air subjects of intense natural beauty in remarkable light, none of which would have been possible in Chicago. In part due to his academic education, Hennings’ primary interest was in portrait painting, with his primary subject being the Native Americans living in and around Taos Pueblo.

While continuing to paint predominantly in the Southwest, Hennings frequently exhibited in Chicago. In 1922 he was awarded the Clyde M. Carr Prize from the Art Institute of Chicago as well as the Institute’s Fine Arts Building Prize. The following year his success in his hometown continued with the Martin B. Cahn Prize, again from the Art Institute of Chicago, for his painting The Twins.

Taos Society of Artists

Such accolades contributed to Hennings’ reputation and, also in 1923, the painter was nominated by Oscar E. Berninghaus and Walter Ufer for membership in the Taos Society of Artists. However, he was not elected a member that year, but was re-nominated the following year and, this time, received a unanimous vote

During one trip back to Illinois, in 1924, Hennings met Helen Otte, an employee at the Chicago department store Marshall Field. The two were married just two years later, on July 20, 1926, and travelled extensively through Europe for 16 months their honeymoon, visiting Italy,France, Spain, and Morocco.

In the years before he was married, Hennings completed his first prints, eight lithographs of various Southwestern subjects. The prints were made on zinc plates and printed in Chicago. Six of the lithographs; Across the Sage, The Frozen Stream, Through Sage and Cedar, Indian Bake Ovens, Beneath the Cottonwoods, and The Hunters, were first printed in an edition of 50, and later in a second edition of 100. The printsTaos Indian and Indian Maiden were produced in a more limited number. Hennings only completed one other print project, which consisted of four monotypes.

Feeling that the organization had run its course and achieved its purposed, the Taos Society of Artists disbanded in 1927. It had grown to include some of the nation's most accomplished painters, including Joseph Henry Sharp, Ernest Blumenschein, Bert G. Phillips, Oscar E. Berninghaus, E. Irving Couse, W. Herbert Dunton, Walter Ufer, Victor Higgins, and Kenneth Miller Adams.

Mature career

By the 1920s, the now established painter was building his reputation on the national scene, with exhibitions and awards including; the Walter Lippincott Prize at the Pennsylvania Academy of Fine Arts (1925), the lsidor Medal and the Ranger Fund Purchase prizes at the National Academy of Design in New York (1926), the Harry Frank Prize from the Art Institute of Chicago (1927), exhibited at the Corcoran Gallery of Art (1928 and 1933), and won first prize at the 1929 Texas Wildflower Competition. Hennings’s success was not limited to the United States, however, and he was included in the 1924 Venice Biennale, the International Exhibition in Paris in 1926, and the 1927 Paris Salon.

Many art collectors throughout America sought out his paintings. Such private patrons included Carter H. Harrison, Jr., Oscar F. Mayer,Robert McKee, and Lutcher Stark. Hennings also received support from the Public Works of Art Project  and the Section of Painting and Sculpture, which commissioned the mural The Chosen Site in a Van Buren, Arkansas, post office.^[10] The Atchison, Topeka and Santa Fe Railroadalso broadly supported his work, including commissioning specific works for advertisements, and remained a supporter of Hennings throughout his career 

Death

E. Martin Hennings died May 19, 1956. Hennings was buried in his hometown of Chicago, rather than his adopted town of Taos, New Mexico.

Today paintings by Hennings are housed in the following museums; the Smithsonian American Art Museum, Stark Museum of Art, Booth Western Art Museum, C.M. Russell Museum, Denver Art Museum, Eiteljorg Museum of American Indians and Western Art, Gilcrease Museum, New Mexico Museum of Art, National Cowboy and Western Heritage Museum, Rockwell Museum, Museum of Fine Arts, Houston, National Museum of Wildlife Art, andWoolaroc Museum.