View a different side of 2 local legends
The artistic vision of Hugh McKean and Jeanette Genius McKean shines in the gem of an institution started by the couple: The Morse Museum of American Art in Winter Park, a treasure trove of Louis Comfort Tiffany’s glass creations.
Jeannette founded the museum, and Hugh was its first director.
But the McKeans’ interest in art went far deeper than collecting and curating. Not as well-known as their philanthropy is the fact that the two were serious — and accomplished — artists. Both painted throughout their lives; Jeannette died in 1989, Hugh in 1995.
Now another local institution, the Crealdé School of Art, is honoring the couple with an exhibition of 38 of their paintings, curated from the Morse’s extensive collection.
The husband and wife worked solo, but the exhibition shows that artistically they were in tune.
“The two were obviously influenced by each other,” says Barbara Tiffany, curator of exhibitions at Crealdé. “They clearly had a respect and regard for each other’s work. They spoke the same language.”
Crealdé has a history of spotlighting contributors to Winter Park’s cultural heritage, but still, the obvious question remains: Why isn’t the McKeans’ work exhibited in their own museum?
“They very specifically did not want their work shown at the Morse,” says Laurence J. Ruggiero, director of the Morse. “Both of them were modest people and hated the idea of vanity.”
Plus: Their museum already had a star attraction.
“They didn’t want to start the museum, saying ‘This is Tiffany… and this is the McKeans,’” Ruggiero says. “They were well aware that they were very different things.”
Ruggiero only went against the McKeans’ wishes after their deaths — displaying a small sample of their artistic output to honor them.
“This is the first time in a long time their work has been available to the public,” Ruggiero says.
Barbara Tiffany selected the works on view, which span more than 50 years, to create a cohesive display.
“Even when looking at geometric calligraphy.” Another writer noted how she was able to capture a “wide variety of mood.”
She would go on to win a Medal of Honor from the National Association of Women Artists in 1984.
Her husband kept a lower profile.
“Both of them clearly depended on art as a way of dealing with the challenges of living, and he was more of a private painter,” Ruggiero says. “His pictures are often suggestive of a narrative — where you don’t know the whole story.”
Ruggiero is pleased that this artistic side of the McKeans, overshadowed by their civic contributions, is getting its due.
“They’re local artists and part of local history,” he says. “I think they would be thrilled to know people want to see their work.”