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The maverick's museum : Albert Barnes and his American dream
From prominent critic and biographer Blake Gopnik comes a compelling new portrait of America's first great collector of modern art, Albert Coombs Barnes. Raised in a Philadelphia slum shortly after the Civil War, Barnes rose to earn a medical degree and then made a fortune from a pioneering antiseptic treatment for newborns. Never losing sight of the working-class neighbors of his youth, Barnes became a ruthless advocate for their rights and needs. His vast art collection -- 181 Renoirs, 69 Cézannes, 59 Matisses, 46 Picassos -- was dedicated to enriching their cultural lives. A miner was more likely to get access than a mine owner. Gopnik's meticulous research reveals Barnes as a fierce advocate for the egalitarian ideals of his era's progressive movement. But while his friends in the movement worked to reshape American society, Barnes wanted to transform the nation's aesthetic life, taking art out of the hands of the elite and making it available to the average American. The Maverick's Museum offers a vivid picture of one of America's great eccentrics. The sheer ferocity of Barnes's democratic ambitions left him with more enemies than allies among people of all classes, but for a circle of intimates, he was a model of intelligence, generosity, and loyalty. In this compelling portrait, Gopnik reveals a life shaped by contradictions, one that left a lasting impact. -- Provided by publisher.
BOOK
Sunday morning. Against his will?
This segment of Sunday Morning is about the Barnes art collection in Philadelphia.
Streaming Video
Some Reflections on the Barnes Collection
Discusses the founding, development, and issues surrounding the Barnes Foundation and its art collection, specifically designed for art education. Also discusses myths about Albert C. Barnes, the Barnes Foundation, and its relationship to the ideas of John Dewey. (CFR)
Journal Article
Port of Sanctuary: The Aesthetic of the African/African American and the Barnes Foundation
Asserts that, although it has been ignored by most art historians and art educators, the Barnes Foundation was founded upon a unique African/African American esthetic influence. Describes influences on the life of Dr. Albert C. Barnes, his world view, and the decision to establish the Barnes Foundation and its art collection. (CFR)
Journal Article
It's about the steal, not about the art
The film, currently playing at the Kendall Square, uses a montage of talking heads, almost all of whom share director Don Argott's take on the issue, to tell the story of the Barnes's contentious history, culminating in the recent decision - after years of money troubles, squabbles with neighbors, dismal leadership, and endless court cases - to up sticks and move to a new site a short stroll from the Philadelphia Museum of Art.
Newspaper Article
Antisepsis with Argyrol, acrimony and advocacy for African art
Despite lack of evidence regarding its antiseptic superiority over
silver nitrate for preventing ophthalmia neonatorum, Argyrol was
promoted so savvily by Albert Coombs Barnes that the revenues enabled
him to amass a unique art collection reflecting his early appreciation
of the African influence on European painters. He addressed social
disparities specially through access for disadvantaged individuals to
his iconoclastic foundation and collaboration with a local
African-American university. Legal wrangling over complex management
issues and distinctive display arrangements, led to fiscal anguish,
cultural torment and local affliction over that trove which is
currently relocating to downtown Philadelphia. (Afr J Reprod Health
2011; 15[3]: 9-14).
Albert Coombs Barnes a développé et commercialisé
l'Argyrol avec succès malgré l'absence de preuves sur sa
supériorité antiseptique, par rapport au nitrate d'argent,
pour la prévention de l'ophtalmie du nouveau-né. Les
bénéfices de cette commercialisation intelligente de
l'Argyrol lui ont permis d'acquérir une collection d'art, unique
en son genre, qui démontre de l'influence africaine sur les
peintres européens. Il s'est attaqué aux disparités
sociales en donnant un accès préferentiel aux personnes
défavorisées à sa fondation iconoclaste et en
collaborant avec une université afro-américaine locale. Une
querelle juridique, à propos de questions complexes de gestion et
de la disposition des oeuvres d'art, a conduit à des
problèmes financiers, à une polémique dans le milieu
culturel et à une dispute de voisinage concernant ce trésor
qui est actuellement en cours de déménagement au centre-ville
de Philadelphie.
Journal Article