THE ART OF THE STEAL
Albert C. Barnes, born into a working class Philadelphia family, went to medical school and later made a fortune after developing a successful antiseptic, and afterward devoted himself to art. In 1922, partly as a result of the influence of philosopher John Dewey and his interest in psychology, philosophy, Barnes created a Foundation dedicated to using his art collection as a vehicle for education. The Art of the Steal is the gripping story of how those intentions were undone.
By the time he established the Foundation, Dr. Barnes had amassed what is now recognized as one of the finest collections of Impressionist, post-Impressionist and early Modern paintings in the world. In the film, renowned art dealer Richard Feigen shown at a Sotheby’s auction, emphasizes the value of collection by pointing out that the multi-million dollar Cezannes available for purchase would not have been up to Barnes’ standards. The bottom line, as he sees it, is that Barns took the best paintings of the best artists off the market and out of public view. And the art establishment wasn’t happy about it.
It turns out that Barnes had an early show in 1922 that was skewered by local critics, much like the Armory show in New York had been pilloried for it’s showing of modern, “primitive” (as in non-classical, non-pretty) art. Barnes, who had developed his own ideas about how he believed art should be experienced (with extensive education about what people were looking at, it’s context and it’s relationship to the larger culture), made it clear during his life and in his will after his death in 1951 that his collection was to remain where he housed it: outside of Philadelphia, not open to the public, not to be sold and not to be loaned.
The documentary details how a combination of actors got together to undo Barnes’ intentions, essentially to invalidate his will. It didn’t take too long after the 1922 disaster, for the art establishment to wake up and realize that modernism was the next big thing and that impressionism had been a precursor. Forces like Walter Annenberg whose family owned the Philadelphia Inquirer and other Philadelphia Museum of Art board members wanted the Barnes Foundation collection to be under their control, central to their conception of Philadelphia as an important, non-provincial and sophisticated, major city. In addtion to Feigen a number of key figures appear in the film including, former Barnes Foundation president, Richard Glanton, named by Lincoln University, after they received control of the Foundation via Barnes’ will; Julian Bond, chairman of the NAACP and a family friend of Dr. Barnes; several former Barnes’ students and artist teachers and many other significant art critic, historians and curators.
The film is really about the transformation of art from the visionary expression of an individual’s consciousness to a commodity traded back and forth by wealthy capitalists. Dr. Barnes, who as a champion of the working class, of African-Americans and the concept of civil rights, and most importantly of the idea art education as a means to elevate all who come into contact with it, was not interested in putting his collection into the hands of the museum establishment. It’s that establishment that now puts on blockbuster shows that tour the world, like the Matisse/Picasso by the Museum of Modern Art a few years back. When I think about that show, my first memory isn’t of the incredible experience of standing in front of some of the greatest works ever painted, but rather of having to squeeze through and around masses of gum chewers and loud talkers. I won’t say it was disappointing but the experience at smaller galleries, with controlled flow makes a huge difference. But Philadelphia envisions itself as having it’s own museum mile - something it hopes will put it on the map, raise it up a notch closer to it’s behemoth neighbor up the road. It’s therefore a fascinating, if not entirely hopeful look at the tidal wave of huckster capitalism practiced by politicians and foundations alike. Take this film as a companion piece to Untitled. Maybe you’ll think twice about attending the next blockbuster museum show...I know I will.
