Past Exhibitions


Marsha Mateyka Gallery
Exhibition  Archive

Howard Hodgkin:  The Early Prints
May 19 - July 8, 2017

Press Release

Washington Post Review

A selection of works from the exhibition

Howard Hodjkin: David's Pool, 1978-85, 25 x 31 inches

Daivd's Pool, 1978-85
soft-ground etching and aquatint with hand coloring in blue ink edition: 100
25 x 31 inches

Howard Hodjkin: Thinking Aloud, 1979, 30 x 27 inches

Thinking Aloud, 1979
etching, edition: 100
30 x 27 inches

Howard Hodjkin: Here we are in Croydon, 1979, 21 x 29 inches

Here we are in Croydon, 1979
lithograph with hand coloring, edition: 100
21 x 29 inches

Howard Hodjkin: Souvenir, 1981, 44.5 x 54.5 inches

Souvenir, 1981
etching, edition: 100
44.5 x 54.5 inches

Howard Hodjkin: Mourning, 1983, 36 x 60 inches

Mourning, 1983
lithograph with hand coloring in gouache, edition: 50
36 x 60 inches

Howard Hodjkin: Red Listening Ear, 1986, 19 x 26 inches

Red Listening Ear, 1986
carborundum etching with hand coloring in red tempera, edition: 100
19 x 26 inches, in frame selected by the artist

Howard Hodjkin: Blue Listening Ear, 1986, 19 x 26 inches

Blue Listening Ear, 1986
lift ground, aquatint, carborundum etching and hand coloring in blue tempera, edition: 100
19 x 26 inches, in frame selected by the artist

Howard Hodjkin: The Green Room, 1986, 20 x 24 inches

The Green Room, 1986
etching with hand coloring, edition: 100
20 x 24 inches

                        Available works by Howard Hodgkin

Press Release

An exhibition of prints by the renowned British artist, Howard Hodgkin is currently on view at the Marsha Mateyka Gallery through July 1. It is the fourth solo exhibition of his prints at the gallery.

Marsha Mateyka Gallery first exhibited the prints of Howard Hodgkin in 1984. That same year the artist was selected to represent his country with a solo exhibition in the British Pavilion at the Venice Biennale. This exhibition then traveled to The Phillips Collection for the artist’s first museum exhibition in the United States.

Although well known for his paintings, Howard Hodgkin was also active as a printmaker throughout his long career. In collaboration with master printers, he arrived at ways to maintain the lush color and spontaneity of his paintings, often through hand coloring in gouache and watercolor on each print. The current exhibition focuses on the period from the mid 1970’s-mid 1980’s when the content of his images was more personal than in later years. At the time, he often mentioned “I paint representational pictures of emotional situations”. Several examples are the etchings “David’s Pool” and “DH in Hollywood” both referring to a visit with his friend, David Hockney in California.

Howard Hodgkin’s works have been the subject of many major exhibitions including the Metropolitan Museum of Art, New York, the Tate Gallery, London and the Reina Sofia in Madrid. He was awarded the Turner Prize in 1985 and knighted in 1992. His paintings and prints are in museum collections worldwide including the National Gallery of Art and The Phillips Collection in Washington, D.C.


The Washington Post
Section: Entertainment/Museums
June 21, 2017

In the galleries: "This art will really speak to you"
By Mark Jenkins

Howard Hodgkin

Although he lived most of his life in London, Howard Hodgkin was inspired by visits to other countries, notably India (where he maintained a studio for a time) and the United States (where he lived as young evacuee from World War II). Among the works in Marsha Mateyka Gallery’s “The Early Prints” are ones that depict, with semiabstract verve, a Tulsa living room, David Hockney’s L.A. pool and views from Indian train windows.

Hodgkin, who died in March at 84, first exhibited his art in 1952. The prints in this array date from 1976-86. So what makes them “early”? It wasn’t until 1977 that Hodgkin developed his trademark style, in which etchings and lithographs were hand-colored by printers following the artist’s sometimes experimental instructions. The results include this show’s version of “David’s Pool”, whose blue is all fountain-pen ink.

In both paintings and prints, Hodgkin accentuated the frame. His rectangular compositions often depict rectangular spaces, or gaze through rectangular portals. Yet they’re not rigidly geometric. Details of the physical world are distilled into fluid gestures: Trees are fields of green dots, and a window shutter is a series of magenta streaks inside a blue box.

The models for Hodgkin’s images aren’t always apparent, and vivid hues aren’t essential. Two of the most striking prints are black-and-white and essentially abstract: “Mourning,” made after a red-and-green version of the same picture, and the exquisitely layered “Souvenir.” The latter overlaps layers printed in shades of black and gray; the former highlights a swoop of gray gouache. That arc was hand-painted, but Hodgkin’s assured style was painterly even when its strokes were applied by a press.

Howard Hodgkin: The Early Prints on view through July 1 at Marsha Mateyka Gallery, 2012 R Street, NW, 022 328-0088.

In the galleries

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