238

Margaret Keane

(1927-2022)

"Why," 1965

Oil on canvas
Signed and dated lower left: © Keane 1965; titled by repute
36" H x 24" W

  • Provenance:
    Triton Museum of Art, Santa Clara, CA

    Other notes:
    Margaret Keane was an American artist with international acclaim, especially known for her signature style: haunting, melancholic figures with expressive "big eyes." The large eyes that Keane painted onto her figures not only intrigued those who viewed the paintings but also spoke to the profound and emotional meaning Keane was imparting in her work. Keane once said, "The eyes I draw on my children are an expression of my own deepest feelings. Eyes are windows of the soul." Her paintings, often of children, women, and animals, evoke an emotional vulnerability that resonated with audiences in the 1960s and beyond. Despite her distinctive voice as an artist, Keane's early career was overshadowed by controversy, as her then-husband, Walter Keane, falsely claimed credit for her work.

    For years, Margaret painted in private while Walter marketed and sold the pieces under his name. The emotional intensity of the "big eyes" paintings captured public fascination, but the truth behind their creation remained hidden until Margaret's public revelation in the 1970s.

    A 1986 courtroom showdown famously concluded with a live painting challenge, where Margaret proved she was the true artist behind the iconic works. Keane's story is one of resilience and self-reclamation. After reclaiming authorship, her later works became brighter and more hopeful, reflecting her liberation. In 2014, her life gained renewed attention with the release of Tim Burton's film "Big Eyes," which dramatized her struggles and triumphs.

    Margaret Keane's legacy lies not only in her evocative and widely beloved artwork but also in her courageous journey to assert her creative identity. Her big-eyed figures continue to look out at the world with a depth of feeling that speaks to both pain and perseverance.
  • Condition: Visual: Overall generally good appearance. A few areas where the paint is thin, either by intent or surface scuffing: one in the mother's hair, approximately 0.25" H x 1.25" horizontal, another measuring 0.5" H x 0.5" W along the upper left center edge, and another along the left edge, center, measuring 1" H x 0.25" W, as well as two tiny spots above the baby's head. Minor frame scuffing along the edge in the upper right corner. The lower left corner canvas is slightly buckled where the tension is looser. There is a pea-sized reverse pressure mark with an attendant pinpoint-sized paint loss near the elbow of the child in blue. An area of very fine craquelure in the upper left quadrant. Surface soiling throughout.

    Blacklight: No evidence of restoration. There are areas that fluoresce, but these are associated with dirt (possibly a liquid splashed onto the surface).

    Frame: 42.75" H x 30.75" W x 2" D


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March 24, 2026 10:00 AM PDT
Monrovia, CA, US

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