Meet Vero Beach Museum of Art Docent Ruth Lentini

“Our job is to make the museum come alive,” says Ruth Lentini, her eyes bright. Since becoming a docent 11 years ago, she has done just that, logging over 5,500 volunteer hours while touring adults and school groups, authoring tour-themed documents, mentoring docent trainees, and serving as the group’s secretary/treasurer and also as chair for five years during COVID.

If you had told the Connecticut native that the Vero Beach Museum of Art would play such an important role in her life, she probably wouldn’t have believed you. In fact, if it weren’t for friends who invited Lentini and her husband to come for a visit, she would never have known about Vero Beach.

“We found Vero to be a lovely, beautiful community in so many ways, so after renting for a while, we bought a house here,” says Lentini, pausing before adding, “My husband passed away before we moved, but I wanted to follow the dream we had, so I did.

“My thought about retirement is that it opens new doors,” Lentini muses. “I was an elementary school educator for 42 years, not involved in art at all. My husband and I were boaters, sailors, so coming here I didn’t know what I was going to do. Then I met a woman who said if you find you have time on your hands, the museum is always looking for volunteers.

“I started in the gift shop, but soon afterward I decided I wanted something that required more of me, something where I could learn, so I applied for the docent program and entered the training class. Alicia Quinn was my mentor,” Lentini smiles, noting it doesn’t get any better than that.

“Over the years I’ve done so many things in my role as a docent. I’ve worked with students 4 years old all the way up through high school; I’ve toured adults of all ages, individuals with special needs—any group that comes in. I develop a rapport with them so that they’re comfortable and feel totally engaged.”

“As docents, we do our own research, then create some sort of background, an introduction to what they’re going to see. I give them just enough to pique their interest,” says Lentini, referencing her approach to the “French Moderns: Monet to Matisse, 1850–1950” exhibition earlier this year. “I started off by saying, ‘So, it’s 1875 and we’re all going to Paris.’”

“You want people to be looking at things in different ways,” says Lentini, excitement filling her voice. “I love finding quotes, interesting things about the artists; you become a storyteller.

“Another thing: we always want to weave in an interpretive analysis, principles of design; for instance, I’ll talk about how the artist has used light and ask, ‘What impact did it have?’ Afterward, one person said, ‘You know, I never considered light—now I always will.’ I loved that.

“It’s such a silver lining in so many ways how things have evolved for me. The museum is a place of joy and a real highlight of my life.”