Artist
Born in Washington, D.C., United States
The Lyrical Abstraction of Howard Mehring
Howard Mehring, a pivotal figure in the Washington Color School movement, stands as a testament to the power of pure color and its ability to evoke profound emotional responses. Though often overshadowed by his more celebrated contemporaries like Morris Louis and Kenneth Noland, Mehring’s contributions to Abstract Expressionism – specifically his pioneering stain painting techniques – are undeniably significant. Born in 1930, Mehring's artistic journey unfolded against a backdrop of post-war American optimism and the burgeoning exploration of non-representational art. He didn’t arrive at abstraction through dramatic upheaval or overt political statement; rather, his path was one of quiet contemplation and relentless experimentation with the very essence of paint itself. Mehring eschewed traditional brushwork, instead favoring a method where thinned acrylics were poured onto unprimed canvas, allowing gravity and capillary action to dictate their flow and interaction. This process wasn’t about control but surrender – an invitation for color to reveal its inherent qualities and create luminous, ethereal forms.
Early Influences and the Emergence of a Unique Style
Mehring's early artistic training provided a foundation in traditional painting techniques, but it was his exposure to Helen Frankenthaler’s groundbreaking “soak-stain” method in the 1950s that proved transformative. Frankenthaler’s work liberated color from the constraints of form and texture, inspiring Mehring to pursue a similar path, yet one distinctly his own. While sharing an affinity for staining techniques, Mehring diverged by embracing a more deliberate layering of colors, often creating complex chromatic relationships within his compositions. He wasn't interested in replicating Frankenthaler’s spontaneous gestures; instead, he sought to build up fields of color through successive washes, allowing previous layers to subtly influence the hues above. This resulted in paintings that possess an extraordinary depth and luminosity – a shimmering interplay of light and color that draws the viewer into a meditative state. His early works often featured muted tones and subtle gradations, reflecting a quiet sensibility and a focus on the inherent beauty of the materials themselves.
The Stain Technique: A Dialogue with Gravity and Color
Mehring’s signature stain technique involved pouring thinned acrylic paints onto unprimed canvas laid horizontally. The paint, unburdened by thick impasto or deliberate brushstrokes, spread organically across the fabric, creating fluid, amorphous shapes and vibrant color fields. This process wasn't merely a technical innovation; it was a philosophical approach to painting – an attempt to relinquish control and allow the inherent properties of color to dictate the composition. The canvas became a receptive surface, absorbing the paint and revealing its unique character. Mehring meticulously controlled the viscosity of the paints and the angle of the canvas, but ultimately allowed gravity and capillary action to play a crucial role in shaping the final image. This resulted in paintings that feel both intentional and accidental – a delicate balance between artist’s vision and the unpredictable nature of the medium. “Blue Green & Violet”, for example, exemplifies this approach, showcasing a harmonious blend of cool hues that evoke a sense of tranquility and spaciousness.
The Washington Color School and Lasting Legacy
As a prominent member of the Washington Color School, Mehring contributed to a unique artistic environment characterized by its focus on color as subject matter. Unlike the gestural abstraction of New York painters like Jackson Pollock and Willem de Kooning, the Washington Color School artists prioritized clarity, simplicity, and the exploration of chromatic relationships. The movement emerged in the 1950s and 60s, gaining recognition for its distinctive aesthetic and intellectual rigor. Mehring’s work, alongside that of Louis, Noland, and Gene Davis, helped to establish a new vocabulary for abstract painting – one that emphasized opticality and emotional resonance over narrative or symbolism. “Untitled”, with its bold interplay of reds and blues, demonstrates the movement's commitment to pure color and its ability to create powerful visual impact. While Mehring’s work didn’t achieve the same level of commercial success as some of his peers, it has garnered increasing recognition in recent years for its subtle beauty and innovative technique. His paintings continue to inspire artists and captivate viewers with their luminous colors and meditative qualities. His influence can be seen in contemporary abstract painting that prioritizes color field aesthetics and explores the boundaries between control and chance.
Major Achievements and Continued Exploration
Throughout his career, Mehring consistently refined his stain technique, pushing the boundaries of color interaction and exploring new chromatic possibilities. “Double Red”, a striking example of his later work, showcases a masterful layering of red hues that creates a sense of depth and intensity. He exhibited widely throughout the United States, including solo shows at galleries in Washington D.C., New York, and Los Angeles. While he remained largely independent from mainstream art trends, Mehring’s work was consistently praised for its originality and emotional power. He taught painting at various institutions, sharing his knowledge and passion with a new generation of artists. Mehring's commitment to experimentation continued throughout his life, even as he perfected his signature style. His paintings are now held in numerous public and private collections, serving as a testament to his lasting legacy as a pioneer of Color Field painting and a significant figure in the history of Abstract Expressionism. He remains active today, continuing to explore the boundless possibilities of color and its ability to transform our perception of the world.
Museum
On show in Washington, D.C., United States of America
Origins and History of the Institution
The Phillips Collection emerged from a personal desire to live alongside art. Founded by Duncan Phillips in 1921, the institution began when he transformed his family home into an art gallery. Located in Washington, D.C.’s Dupont Circle neighborhood, this private, non-government institution was established to foster a direct connection between the viewer and the creative spirit. It holds the distinction of being America's first museum dedicated to modern art.
For over one hundred years, the collection has expanded through a commitment to modern and contemporary art. The origins of the institution are rooted in the domestic space, where the boundaries between a private residence and a public gallery remain blurred. This unique beginning shaped a mission to treat art as a living presence rather than a distant object of study. The collection grew through a spontaneous approach to acquisition, often testing new works to see if they possessed the endurance to remain part of the permanent dialogue.
The history of the institution is marked by a focus on the evolution of artistic expression. By grouping works by their aesthetic temperament, the collection traces a lineage from the influences of the nineteenth century into the complexities of the present. This approach allowed for the inclusion of voices that were often overlooked by the mainstream art world during the early twentieth century.
The Building and its Architecture
Located in Washington, D.C.’s historic Dupont Circle neighborhood, the institution resides within an original Georgian Revival residence. The space was not constructed as a public institution but emerged from the family home of Duncan Phillips. This domestic origin remains central to the atmosphere, as the gallery occupies a portion of the residence itself. The architecture maintains a sense of intimacy, preserving a character that feels lived-in rather than institutional. It functions as a home for the fine arts, where the boundaries between a private dwelling and a public space remain intentionally blurred.
The structure has been expanded thoughtfully over the years to accommodate a growing collection. These additions were integrated to respect the existing scale of the house, avoiding the imposing proportions often found in larger institutions. The result is a series of rooms that encourage quiet contemplation. One might find themselves standing before a canvas in a setting that feels personal and contained. The layout facilitates a dialogue between the architecture and the works it holds, ensuring that the environment remains a sanctuary for those seeking a direct encounter with art.
Masterpieces of the Collection
The collection contains nearly 6,000 works that trace a lineage from nineteenth-century influences through the developments of modernism. Pierre-Auguste Renoir’s Luncheon of the Boating Party, acquired in 1923, remains a central presence within the galleries. This work is part of a significant grouping of Impressionist and Post-Impressionist canvases, including pieces by Monet, Degas, and Van Gogh. The presence of Cézanne and Courbet provides a foundation for the more radical shifts in style that follow.
The evolution of form and color is evident in the works of Matisse, Picasso, and Braque. These artists represent the movement toward abstraction and the liberation of color. A significant milestone in the collection occurred in 1957 with the purchase of the first Mark Rothko painting, marking a shift toward the mid-century aesthetic. The dialogue between these different eras is maintained through the careful arrangement of works by various masters.
Luncheon of the Boating Party, 1881
Dancers at the Barre 1, 1888
The Repentant Peter, 1600
The Red Sun, 1948
Le Moulin de la Galette, about 1886
St. Francis in Ecstasy
Exhibitions and Research
The institution functions as an experiment station, a place where new ideas are tested through the arrangement of its works. Rather than maintaining static displays, the galleries are frequently rearranged to facilitate new conversations between the pieces. This movement allows for a constant re-evaluation of how different styles and eras interact within the space. Special exhibitions are held alongside the permanent collection, offering a shifting perspective on the history of modern art.
A sense of permanence exists within the changing landscape of the galleries, most notably in the Rothko Room. This permanent installation provides a dedicated space for contemplation, distinct from the rotating displays. Beyond the visual experience, the institution maintains a commitment to community engagement through award-winning education programs. These initiatives seek to foster a deeper connection between the public and the creative spirit found within the walls.
