McLaughlin had begun painting during the 1930s, relatively late in life. He was self-taught, without receiving formal artistic training. His fondness for Asian art and his travels in that part of the world influenced his artistic style. He settled in
Dana Point, California in 1946 and began painting full-time. A few of his earliest paintings were
still lifes and
landscapes, but the remainder of his pieces were
abstracts. During this time period, he was one of just a few American artists creating abstracts. McLaughlin's work is characterized by a simplicity expressed as precise geometric forms, usually rectangles. His experiences in Asia were very important in developing his style.
Zen masters taught that spaces between objects (the "marvelous void") could be more important than the objects themselves in facilitating meditation. The work of
Kazimir Malevich and
Piet Mondrian also strongly influenced McLaughlin. He wrote: "With respect to my direct influences I must stress my interest in 15th and 16th century Japanese painters. I have found comfort in some aspects of thought expressed by , and I am indebted to Mondrian because his painting strongly indicated that the natural extension of Neo-Plasticism is the totally abstract." From 1952 onward, he ceased using curves in his work. Paintings from his later period show increasing simplification of form and color palette. He described his artistic philosophy: "My purpose is to achieve the totally abstract. I want to communicate only to the extent that the painting will serve to induce or intensify the viewer's natural desire for contemplation without benefit of a guiding principle. I must therefore free the viewer from the demands or special qualities imposed by the particular by omitting the image (object). This I manage by the use of neutral forms." McLaughlin's first solo exhibition was in 1952 at the
Felix Landau Gallery in Los Angeles. He also showed with
André Emmerich in New York and Zurich. His many other museum solo exhibition venues included the
Pasadena Art Museum,
Corcoran Gallery,
La Jolla Museum of Contemporary Art, and
Whitney Museum of American Art. His work was also included in numerous group exhibitions, including the landmark "Four Abstract Classicists" exhibit at the
Los Angeles County Museum of Art. This show, also featuring the work of
Karl Benjamin,
Lorser Feitelson, and
Frederick Hammersley, was organized by
Jules Langsner who, along with Peter Selz, coined the term "
hard-edge painting" to describe the work of these four abstract artists. Langsner wrote: "Deliberately neutral in character, John McLaughlin's forms might be described as anonymous. Essentially color serves him as a means of defining and regulating a form's relative importance in the composition. Each painting represents the outcome of a process of refinement." A touring exhibition "Birth of the Cool: California Art, Design and Culture at Midcentury" featured the abstract classicists.
The New York Times art critic
Ken Johnson wrote in his 2008 review of the show at the
Addison Gallery of American Art: "Mr. McLaughlin's grid-based paintings exude a greater formal austerity [than Benjamin's]. They are composed of smooth, flat rectangles of black, white, off-white and gray with blocks of color strategically inserted here and there. Inspired by Asian art and Zen Buddhism, they have a monastic air about them, but they are suave and materially sensuous too."
Life magazine published a special issue in 1962 on the state of California. It highlighted five renowned artists, including John McLaughlin. (The others were
Stanton Macdonald-Wright,
Robert Irwin,
Billy Al Bengston, and
Roger Kuntz.) McLaughlin died on March 22, 1976, in Dana Point at the age of 77. In 1963, the Pasadena Art Museum (now the
Norton Simon Museum) exhibited McLaughlin's first major museum retrospective curated by the legendary
Walter Hopps. In 1968, the
Corcoran Gallery of Art exhibited McLaughlin's second major museum retrospective curated by
James Harithas. In 1975, the
Laguna Art Museum held McLaughlin's second museum retrospective. In November 2016, McLaughlin was subject to a long overdue third major museum retrospective at
LACMA. A review of the show by art critic Christopher Knight affirms "McLaughlin occupies the top tier of 20th century American art". ==Collections==