Introduction
The David John McCosh and Anne Kutka McCosh Memorial Collection: Stewarding a Legacy Danielle M. K napp
THE WORKS OF DAVID (1903–81) and Anne Kutka McCosh (1902–94), both accomplished painters with natural talents and formal training, would have been no less impressive had the couple not left such a sizable collection of finished and unfinished artworks, ranging from sketchbooks and small studies to large framed canvases, to the University of Oregon to allow for future study and enjoyment. How fortunate we are that such a generous gift was, in fact, arranged by Kutka McCosh in the years following her husband’s passing. The Jordan Schnitzer Museum of Art is
The couple on their wedding day, Santa Fe, New Mexico, July 1934. Unknown photographer, McCosh Memorial Archive
grateful to have been entrusted with not only the largest repository of both of these artists’ works and
less create the hundreds upon hundreds of drawings,
related materials from their personal archive, but also
prints, and paintings that he produced.
the responsibility of sharing these treasures with the
Archival documents and letters reveal how seri-
public. The Memorial Collection presents a wealth of
ously McCosh weighed decisions that might upset the
possibilities for in-depth research, exhibition develop-
balance between his teaching and painting. In 1940,
ment, and continued connoisseurship.
he declined the invitation to complete a mural for
What
is
especially
remarkable
about
David
the Eugene Post Office and the commission was later
McCosh’s prolific career as a painter (he preferred
awarded to Carl Morris (letter from David McCosh
this more accurate designation over the generic title
to Edward Rowan, Assistant Director of the Section
of “artist”) is that it was evenly matched by the depth
of Fine Arts, August 8, 1940). He explained, “I regret
of his commitment to his students at the University
very much that at this time I do not feel that I could
of Oregon. His teaching career spanned decades but
do justice to the commission and therefore cannot
its impact did not end with his retirement in 1970.
accept it. I am committed to a full program for the
When one hears from his former students how indel-
coming year which will give me less time than ever
ible a mark McCosh made on their appreciation of the
to paint. [. . .] Broken time is extremely unsatisfac-
creative process, their understanding of color harmo-
tory for important work and it is too late for me to
nies, their self-discipline as artists, and their own
arrange for a leave of absence [from teaching duties at
painting practice, it can be hard to imagine how such
the University of Oregon].” Three important sabbati-
a dedicated instructor ever found the time and energy
cals from the University of Oregon would come later:
outside of teaching to work in his own studio—much
to the Washington coast, Mexico, and New Mexico 7
