Albert C. Barnes, surveying his collection, c. 1940.
DAY 6: Today is Wednesday, June 8,th and we examine the growth of the market for modern European art in the United States through the legendary art collector and philanthropist, Albert C. Barnes. Barnes, who came from working-class roots in late nineteenth century Philadelphia amassed an unparalleled collection of post-Impressionists works, including 181 Renoirs, 69 Cézannes, 59 Matisses, 46 Picassos and several other works by noted European and American artists. Listen to (or read, but the audio version is much richer, especially with Kimberly Camp's response) Jeremy Braddock's essay "Neurotic Cities: Barnes in Philadelphia" and watch the riveting documentary, the Art of the Steal, about the controversial move of the Barnes Foundation from its original site in Merion, Pennsylvania to Philadelphia. You may obtain this from Netflix (streaming or DVD) http://movies.netflix.com/WiSearch?v1=The%20Art%20of%20the%20Steal&oq=art%20of%20the%20stea&ac_posn=1 or the Africana Library if you're in Ithaca.
Questions to consider: To be sure, the complex history of the Barnes Foundation, the brilliance of the art itself, Dr. Barnes' eccentricities, and the political and institutional struggles of the organization contribute to the value of this collection. Discuss at least three determinants of value for the Barnes collection, taking into consideration the one-of-a-kind nature of the works and their historical significance. If some of these now famous works of art, Cézanne's "Card Players" for example, were not part of Dr. Barnes' collection, would they hold the same value and significance within art history today? In other words, how much does context contribute to the valuation of art? To what degree do the gallery owners and patrons of art contribute to the valuation of particular works? Finally, you might also consider the legacy of Dr. Barnes' support of and interest in African and African American art and the controversy surrounding the wrestling of the Foundation from the governance of Lincoln University. African American artists like Horace Pippin, for example, studied at the Barnes Foundation and his career as an American folk artist took off in the 1940s, due in large part to the support of Barnes and Edith Gregor Halpert, a noted New York gallerist of American mid-century art. How did Dr. Barnes' personal taste and socially conscious agenda contribute to the value and shape of his collection?
The Art of the Steal, 2009. 101 min. Dir. Don Argott. (DVD 514, Africana Library)
Read: Jeremy Braddock, Neurotic Cities: Barnes in Philadelphia http://www.jstor.org/pss/4134504 or
Listen to: "Neurotic Cities: Barnes in Philadelphia,http://slought.org/content/11183/
Individual Contributions
Vincent Anthony Falkiewicz
Erica Gilbert-Levin
Kimberly Ann Phoenix
Consider & comment:
What did you think of today's readings and wiki features? What issues if any did they raise for you? How did the audio visual material provided support your understanding of this topic? Comment on your classmates' posts. Leave your comments in the box below.