Advertisement
Born in 1927 in Nashville, Tennessee, Keane enrolled in art classes at the age of 10. After attending the Traphagen School of Fashion, an art and design school in New York City, she developed her signature style – melancholy depictions of cartoonish women, children and animals, often referred to as “waifs” with wide eyes.
Boy and Poodle (1982) directed by Margaret Keane. Recognition: © Keane Eyes Gallery, San Francisco, CA
In 1955 she married real estate agent Walter Keane, who offered to sell her paintings while secretly passing them off as his own. It wasn’t until she accompanied him to San Francisco nightclub The Hungry i, where he often peddled her work, that she discovered the deception.
Keane eventually agreed to continue with the arrangement and her husband enjoyed significant commercial success. The paintings were widely distributed in the 1960s – not only as canvases and prints, but also on plates, postcards and mugs.
The works divided the art world. But while some critics dismissed them as cliché and excessive kitsch, the likes of Andy Warhol also praised them. “I think what Keane has done is amazing,” the pop artist once told Life magazine, in a quote opening Burton’s film. “If it was bad, so many people wouldn’t like it.”
Walter and Margaret Keane in 1960. Recognition: Bettmann/Bettmann/Bettmann archive
After divorcing Walter in 1965, Keane moved to Hawaii from California and began seeking public recognition for her work. When her ex-husband denied the claim, she famously arranged a “painting” in San Francisco’s Union Square, though he declined the challenge.
In 1986 he was again asked to prove he could recreate the paintings’ distinctive style – this time in front of a jury. Keane had sued him (and USA Today) in a Honolulu court for defamation after he continued to claim credit. The judge ordered both Keane and her ex-husband to draw a wide-eyed child, though the latter declined, citing a shoulder injury. She completed a painting for the court in less than an hour.
The jury was persuaded, and Keane was awarded $4 million, although that sum was later reversed. She never received any compensation. “I didn’t care about the money,” she later said, according to Citizen Keane, a book about the scandal. “I just wanted to state that I took the pictures.”
Keane’s work sparked renewed interest with the release of Burton’s Big Eyes in 2014, in which the artist was played by Amy Adams. On Wednesday, the film’s co-writer Larry Karaszewski paid tribute to Keane on Twitter, saying he was “grateful” “for spending so much time getting to know her beautiful mind.”
Keane’s “Keiki Lisa” (1986). Recognition: © Keane Eyes Gallery, San Francisco, CA
“It took a decade for ‘Big Eyes’ to hit the big screen,” he wrote, adding, “She wanted the world to know the truth about her life and art.”
“We will miss her love, creative genius (sic) and passion to continue creating new work until her death,” the statement said.
Pictured above: Margaret Keane at the New York premiere of Big Eyes in 2014.