How many artists does it take to create a "Klassik Keane?"

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How many artists does it take to create a "Klassik Keane?"

Post  pinhedz on Mon Jan 19, 2015 5:24 am

That Tim Burton movie has got me all confused. Who exactly painted what? Let's find some answers. scratch study


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Re: How many artists does it take to create a "Klassik Keane?"

Post  pinhedz on Mon Jan 19, 2015 5:28 am

One theory is that Kim Novak did all the paintings. Shocked


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Re: How many artists does it take to create a "Klassik Keane?"

Post  pinhedz on Mon Jan 19, 2015 9:49 am

The story goes that Walter started out painting Paris street scenes (which is a very artistic thing to do), for which he used a trowel instead of a brush (very impressionistic).


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Re: How many artists does it take to create a "Klassik Keane?"

Post  pinhedz on Mon Jan 19, 2015 9:52 am

Unlike Walter, his wife-to-be Margaret had no creative talent, so all she could do was paint stuff that resembled the subject she was painting:


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Re: How many artists does it take to create a "Klassik Keane?"

Post  pinhedz on Mon Jan 19, 2015 9:59 am

Walter's oldest daughter says that Walter mastered depth and perspective way back before he even met Margaret.

Looks like he really had that perspective business nailed:

[

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Re: How many artists does it take to create a "Klassik Keane?"

Post  pinhedz on Mon Jan 19, 2015 10:07 am

^
Daughter says that Walter painted that piano, which proves that he must have done the stairway here:



Last edited by pinhedz on Mon Jan 19, 2015 10:39 am; edited 1 time in total

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Re: How many artists does it take to create a "Klassik Keane?"

Post  pinhedz on Mon Jan 19, 2015 10:15 am

However, Daughter acknowledges that, because Margaret learned to paint faces with such "precision," Walter sometimes let her contribute to paintings "that were entirely of his conception and creative authorship."

Like this one--where Walter no doubt had the idea to put a girl in front of a building and an alley, which provide "depth and perspective."


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Re: How many artists does it take to create a "Klassik Keane?"

Post  pinhedz on Mon Jan 19, 2015 10:18 am

In Margaret's own paintings, she never figured out how to do that depth-and-perspective thing--except maybe sometimes:




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Re: How many artists does it take to create a "Klassik Keane?"

Post  pinhedz on Mon Jan 19, 2015 10:33 am

So, daughter says that Walter was the creative one--the idea man--but he was messy, whereas Margaret was a mere technician--but she was neat. It's sort of like saying Walter was a brilliant architect, and Margaret was a bricklayer.

So the idea man had to tell Margaret what to paint. She admits this herself: "he would tell me to paint a big-eyed kid in a clown suit, or two kids sitting on one rocking horse."

Many inquiring minds have been reaching the conclusion that Margaret did the faces and Walter did the background part. Margaret says: "Sometimes he might touch up the background."

Yes--I think I see it now--there is some paint gooped on behind the girl's right shoulder, which explains why Walter claimed, and held on to, all the copyrights:


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Re: How many artists does it take to create a "Klassik Keane?"

Post  pinhedz on Mon Jan 19, 2015 10:52 am

In conclusion, daughter says that Margaret could not have painted dark spooky pictures back the '60s, because nowadays she paints like this:


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Re: How many artists does it take to create a "Klassik Keane?"

Post  pinhedz on Mon Jan 19, 2015 10:54 am

Margaret however, says she paints happy now because she's rid of Walter, and because there aren't a lot of dark alleys in Hawaii.

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Re: How many artists does it take to create a "Klassik Keane?"

Post  pinhedz on Sat Jan 24, 2015 3:17 pm

This one tells the story: another attempt by Walter to paint the Montmartre street scene in 1965 (no improvement since the 1940s), with one of Margaret's kids in the foreground:


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Re: How many artists does it take to create a "Klassik Keane?"

Post  pinhedz on Fri Jan 30, 2015 12:06 pm

Enrico Banducci owned and operated the "Hungry i" club in the late '30s, when the Keanes sold paintings there.

Margaret Keane did a portrait of Enrico's son, Greg, who is all grown up now.

Greg says his dad always knew Walter couldn't paint.


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Re: How many artists does it take to create a "Klassik Keane?"

Post  pinhedz on Thu Feb 26, 2015 4:24 pm

Someone deleted Greg's portrait. Shocked
Why would anyone do that?
 

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Re: How many artists does it take to create a "Klassik Keane?"

Post  pinhedz on Fri Mar 13, 2015 5:35 am

To me it looks like Margaret was working on being a portrait painter until the mid-50s. She did both painted portraits and quickie charcoal drawings, all executed realistically. The eyes were normal, but the girls typically looked sad in the painted portraits (maybe they liked a boy that was ignoring them, or maybe their cruel stepmother beat them, or maybe they wanted to go to the mall but had to sit for the portrait instead).

By 1957, the eyes were still realistic-looking (not yet orbs or saucers), but were becoming more prominent and sad. Some were dark and sunken, but the girls were always dressed in their Sunday best--they were not orphaned, abandoned or runaways. Evidently Walter had not yet started claiming these were his, because Margaret said he only started claiming all the credit in '59 or '60.

In the 1960s, instead of a plain background, the waifs were typically framed by a dark alley, a spooky stairway, or a corridor of dark, grimy buildings. According to Walter's daughter, Susan, those settings are proof that the paintings were "totally of Walter's conception and creative authorship." She said that Margaret happened to be good at executing faces with precision, so Walter allowed her to be his technical assistant.

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Re: How many artists does it take to create a "Klassik Keane?"

Post  pinhedz on Mon Mar 23, 2015 1:15 am

The pinhed was asking "If Walter really did pictures of war orphans in Berlin after the war, why were all the pics from the 50s of sad middle-class American girls dressed in their Sunday best with Easter bonnets?"

So, I finally found the war orphans in Walter's 1964 coffee table book, which alleges to have work from 1945 to 1963.

I only got three problems with this:

-- Walter wasn't in Berlin, he was selling real estate in Cali;

-- The pic didn't come to light until 1964, but's it's in mint condition (must have been low-acid paper);

-- It looks to me alot like Margaret's work.

The pic is entitled "Berlin:"


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Re: How many artists does it take to create a "Klassik Keane?"

Post  pinhedz on Sat Mar 28, 2015 11:46 pm

Bridget Tichenor said that critics--including academics--do not know anything about art, unless they are artists themselves.

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Re: How many artists does it take to create a "Klassik Keane?"

Post  pinhedz on Mon Apr 13, 2015 6:29 am

Some say that Walter Keane was sort of like Jeff Koons, who doesn't do any work because he's the "ideas man." Very Happy

Jeff Koons freely admits that he doesn't do any of the technical work--he hires people for that.


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Re: How many artists does it take to create a "Klassik Keane?"

Post  pinhedz on Mon Apr 13, 2015 11:24 am

This writer makes some insightful points about Keane art. But I can't help questioning whether the evaluation "awful" is quite right right, seein' as how he acknowledges that it arrests your attention and is disturbing and haunting to the point that you can't forget it once you've seen it.

Robert L. Pincus of Laguna Beach

Keane`s paintings show us that some kinds of awful art are more fascinating than others. Consider the landscape painter or vapid abstractionist whose picture hung in your hotel room on one trip or another, and whose name you will never remember. That "artist`s" work is just boringly bad; you probably can`t even remember what it looks like. But Margaret Keane`s paintings are unforgettable, because they are so boldly and amazingly awful. If you came upon one in a hotel room, you`d likely either change rooms immediately or find yourself staring at it.

The children in Keane`s paintings (usually girls) stare back at us and what gazes they possess! The biggest part of their faces is taken up with the eyes, which are dominated by the pupils. These deep, dark liquid pools make her children look intensely needy, mournful and sometimes pathetic, as if they are unloved and yearn for us to embrace them.

Knowing how sincere Keane was - and continues to be - as an artist can make one feel guilty about disparaging her paintings. After all, her pictures just want to make us aware of how some children suffer; how they feel estranged from the adult world. For instance, the rich palette of the flowers in the exhibited "In the Garden" (1963), which surround a girl in a yellow dress, only heighten our awareness of her intense, oversized gaze and troubled expression.

But one can`t feel too guilty, because her paintings emotionally bully the viewer. One possible reason for their immense popularity in the `50s and `60s: People felt guilty if they didn`t like them - and still do. A viewer can`t turn his back on a needy child - even if it`s just a fictional one. Covertly, her paintings say to us: I dare you not to like me.

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