This is a photograph of Virginia Mecklenburg in front of an Edward Hopper painting.

Virginia Mecklenburg

Senior Curator

Virginia Mecklenburg is senior curator at the Smithsonian American Art Museum. She has been a curator of painting and sculpture at the museum since 1979. Her research interests include American art and culture, Ashcan art, New Deal art, American abstraction, pop art and Latinx art. See full staff bio

Exhibitions

Books

  • Cover for publication Fighters for Freedom
    Fighters for Freedom: William H. Johnson Picturing Justice
    William H. Johnson painted his Fighters for Freedom series in the mid-1940s as a tribute to African American activists, scientists, teachers, and performers, as well as international heads of state working to bring peace to the world. Some of his Fighters — Harriet Tubman, George Washington Carver, Marian Anderson, and Mohandas Gandhi — are familiar historical figures; others are less well-known individuals. This catalogue—the first ever devoted to the Fighters for Freedom series—showcases Johnson’s bold, modernist style.
  • cunningham_500.jpg
    Earl Cunningham’s America
    Earl Cunningham (1893–1977) was one of the premier folk artists of the twentieth century. Earl Cunningham’s America presents Cunningham as a folk modernist who used the flat space and brilliant color typical of Matisse and Van Gogh to create sophisticated compositions. Wendell Garrett brings his broad knowledge of decorative arts and folk art to bear, placing Cunningham in the context of ideas and events. Virginia Mecklenburg, senior curator at the Smithsonian American Art Museum, traces Cunningham’s life and situates his work in the context of the folk art revival that brought Edward Hicks, Grandma Moses, and Horace Pippin to national attention. Carolyn Weekly, director of museums at Colonial Williamsburg, shows how Cunningham’s style developed over the course of his career.
  • rockwell_500.jpg
    Telling Stories: Norman Rockwell from the Collections of George Lucas and Steven Spielberg
    Norman Rockwell’s pictures tell stories—of children growing up and of couples growing old—that make us laugh with warmhearted recognition. Rockwell was a master humorist with an infallible sense of the dramatic moment. Like a movie director, he determined the pose and facial expression of each character, positioned each prop, and lighted his sets for maximum scenic effect. George Lucas and Steven Spielberg encountered Rockwell’s magazine covers as boys. The painter’s stories, and the ideals they reflect, fascinated these two friends and sometime collaborators and drew them to value, and collect, the work of Norman Rockwell. In this book, Virginia Mecklenburg traces Rockwell’s career using works from the collections of Lucas and Spielberg as guideposts. She also explores Rockwell’s fascination with Hollywood and his elaborate creative process wherein he assumed a role remarkably like that of a film director. In a separate essay, Todd McCarthy describes Rockwell’s cinematic techniques and draws parallels between Rockwell’s subjects and those of Hollywood directors, including Lucas and Spielberg.
  • AfAmBeyond_500.jpg
    African American Art: Harlem Renaissance, The Civil Rights Movement, and Beyond
    African American Art: Harlem Renaissance, Civil Rights Era, and Beyond offers a rich vision of twentieth-century visual culture. An essay by Richard Powell sets the stage: his analyses of works by Sargent Johnson, Renée Stout, Eldzier Cortor, and Alma Thomas give the reader a rubric for considering other works that range from the Harlem Renaissance to the decades beyond the civil rights era, a period that saw tremendous social and political change. The forty-three artists included here worked in every style current during those decades, from documentary realism to abstraction, from expressionism to postmodern assemblage. They consistently touch universal themes, but they also evoke specific aspects of the African American experience—the African Diaspora, jazz, and the persistent power of religion.
  • crosscurrents_500.jpg
    Crosscurrents: Modern Art from the Sam Rose and Julie Walters Collection
    In eighty-eight striking paintings and sculptures, Crosscurrents captures modernism as it moved from early abstractions by O’Keeffe, to Picasso and Pollock in midcentury, to pop riffs on contemporary culture by Roy Lichtenstein, Wayne Thiebaud, and Tom Wesselmann—all illustrating the complexity and energy of a distinctly American modernism.
  • hopper_500.jpg
    Edward Hopper: The Watercolors
    In the 1920s, inspired perhaps by the particular light and quality of Gloucester, Massachusetts, Edward Hopper began painting watercolors. He has been celebrated since then as one of the most eloquent of America’s realists. Text by Virginia Mecklenburg and Margaret Ausfeld accompanies over a hundred brilliant color images as well as seventy additional illustrations and a chronology of Hopper’s life and works.
  • modmast_500.jpg
    Modern Masters: American Abstraction at Midcentury
    Modern Masters: American Abstraction at Midcentury features more than thirty artists who transformed American art in the years after World War II. Seventy artworks from the Smithsonian American Art Museum, reproduced in full color, convey the dynamism and raw energy of the period. Photographs and biographical details provide intimate portraits of Richard Diebenkorn, Hans Hofmann, Franz Kline, Joan Mitchell, Robert Motherwell, Louise Nevelson, and others who explored powerful color and the nuance of line.
  • metlives_500.jpg
    Metropolitan Lives: The Ashcan Artists and Their New York
    The six artists whose earthy, urban subjects led critics to call them the “Ashcan School” are featured in this book. The authors document how closely the work of these artists reflected current events and social concerns at the turn of the century. Newspaper clippings, postcards, and other ephemera of the period are reproduced.

Blog Posts

  • A drawing of over ten cakes lined up in a store front.
    Happy Birthday Wayne Thiebaud! 
    Reflecting on the artist’s “light and color and joy and humor,” and his nudge to look closer and think harder about the world that surrounds us