Mission Statement

The goal of the Museum of Encaustic Art is to grow the largest, most extensive, and best represented encaustic art collection in America. This includes several categories of encaustic art, such as encaustic painting, encaustic with paper and photography, encaustic with mixed media, encaustic sculpture, encaustic monotypes, and cold wax. We intend to bring attention of this medium to the public at large through enticing exhibits, tours/hands-on demonstrations and collaboratively working with other community organizations.

What is encaustic?

Encaustic is a Greek word meaning “to heat or burn in” (enkaustikos). Heat is used throughout the process, from melting the beeswax and varnish to fusing the layers of wax. Encaustic consists of natural bees wax and dammar resin (crystallized tree sap). The medium can be used alone for its transparency or adhesive qualities or used pigmented. Pigments may be added to the medium, or purchased colored with traditional artist pigments. The medium is melted and applied with a brush or any tool the artist wishes to create from. Each layer is then reheated to fuse it to the previous layer.

History of Encaustic

Encaustic painting is an ancient technique, dating back to the Greeks, who used wax to caulk ship hulls. Pigmenting the wax gave rise to the decorating of warships. The use of encaustic on panels rivaled the use of tempera in what are the earliest known portable easel paintings. Tempera was a faster, cheaper process. Encaustic was a slow, difficult technique, but the paint could be built up in relief, and the wax gave a rich optical effect to the pigment. These characteristics made the finished work startlingly life-like. Moreover, encaustic had far greater durability than tempera, which was vulnerable to moisture. Perhaps the best known of all encaustic work are the Fayum funeral portraits painted in the 1st through 3rd centuries A.D. by Greek painters in Egypt. A portrait of the deceased painted either in the prime of life or after death, was placed over the person’s mummy as a memorial. These are the only surviving encaustic works from ancient times. It is notable how fresh the color has remained due to the protection of the wax.

The 20th century has seen a rebirth of encaustic on a major scale. It is an irony of our modern age, with its emphases on advanced technology, that a painting technique as ancient and involved as encaustic should receive such widespread interest.

Earlier attempts to revive encaustic failed to solve the one problem that had made painting in encaustic so laborious – the melting of the wax. The availability of portable electric heating implements and the variety of tools made the use of encaustic more accessible. Today it is gaining popularity with artists around the world.

Care of Encaustic Art

These paintings are extremely archival, but as with any fine art, care should be given to them. There should be no fear of the work melting in normal household conditions. The wax and resin will not melt unless exposed to temperatures over 150 degrees Fahrenheit. Leaving a painting in a car on a hot day would not be advisable or hanging a painting in front of a window with direct desert-like sun. They are also sensitive to freezing cold temperatures.

Some encaustic colors tend to “bloom” or become cloudy over time. If your painting appears indistinct, simply rub the surface with a soft cloth or nylon stocking. Over time the surface retains its gloss as the wax medium continues to cure and harden for up to 1-3 years.

History of MoEA

The Encaustic Art Institute (EAI) was proud and excited about opening the first Encaustic Art Museum in America -- the Museum of Encaustic Art, MoEA, in Santa Fe New Mexico.  

EAI was founded in 2005 by Douglas Mehrens. While having a long-term plan in mind, Mehrens and his wife, Adrienne, agreed to his Mehrens’ existing studio space in Cerrillos New Mexico as the starting place for the Institute. Knowing that once the right space in Santa Fe was found, and the budget would allow, we would move to a permanent art space that could handle the institute, its members, and a museum.  

The right space for a new location was found in The Railyard Art District in downtown Santa Fe where we held our 10th anniversary and grand opening.  At that point, we also immediately started working on developing the plans for the museum. In terms of inventory for the museum, we have spent the last eight years acquiring art that is exemplary for being presented in a museum for the world to see.  One by one, juried show after juried show, we have now over 300 museum-quality art that will strengthen the already fastest-growing art medium and movement in America – Encaustic Art.

Due to mandated closures of the museum and institute for nearly a year related to the COVID virus, the non-profit was unable to maintain its rent in Santa Fe and stay financially viable. The Museum has now moved to its original home mentioned above. Museum is open to the public Fri/Sat/Sun 11 - 4 from April - Dec 1. Open in March by appointment only. Closed Holidays. Closed Dec 2 - 31/January/February.