About the Washington Color School and Related Works Collection
Every day, Agency employees walk past several abstract paintings that hang throughout the Headquarters buildings. These 20 paintings do not just break up the acres of wall space. They represent an elemental approach to art, the legacy of a long-term loan, and a connection to the architecture of the Original Headquarters Building (OHB).
The way the eye perceives color and pattern were the subjects of Norman Bluhm, Gene Davis, Howard Mehring, Kenneth Noland, Thomas Downing, Alma Thomas, and the other artists of the Washington Color School. The Washington Color School is an art movement that emerged out of Washington, DC, during the late 1950s and early 60s.
The Agency first displayed Washington Color School paintings in 1968, when art collector Vincent Melzac loaned eight large paintings to the Agency. The paintings by Norman Bluhm, Gene Davis, Thomas Downing, and Jack Bush were selected by officials of the Corcoran Gallery to fit the large open spaces of OHB.
A sculpture by Giorgio Spaventa was also loaned at that time; it now resides in the Vatican. Melzac also donated the bust of George Bush by sculptor Marc Mellon which is near the OHB lobby. Melzac was awarded the Agency Seal Medallion by DCI Casey in 1982 for his generous support to the CIA.
Over the years, many different paintings loaned by Melzac rotated in and out for display at the Agency. At one point numbering up to 29. In 1987, CIA purchased 11 paintings from Melzac and they became part of the Agency’s permanent collection. In 2017, the Agency accepted a donation of paintings by Washington Color School artist Paul Reed from his daughter, Jean Roberts. Over the years, CIA has received through donation and purchase additional related works from Washington, DC artists that are displayed alongside the paintings by the Washington Color School artists. The Agency’s investment in mid-century artwork is reflective of the OHB design, further enhancing and showcasing the iconic nature of the facility.

