The Barnes Foundation ~ Moving Masterpieces

 "The mission of The Barnes Foundation is to promote the advancement of education and the appreciation of fine arts...to maintain an art gallery of works of ancient and modern art, in connection with an arboretum...for the study of arboriculture and forestry. "

              -Albert C. Barnes

Alfred C Barnes, 1926 by Giorgia di Chericio

Albert Barnes, a philanthropist, educator, and eccentric art collector amassed one of the most comprehensive private collections with some of the greatest works of the past 100 years.  Considered by some a rather radical art collection for the day, Albert concentrated on French impressionistic, post impressionistic, and early modern paintings.  He was also interested in African sculpture, folk art, and metalwork.

Barnes amassed his collection including 181 Renoir's, 69 Cézanne's, 59 Matisse's, 46 Piccasso's, and a host of other riches within galleries in his neo classic home in Merion, PA, an upscale suburb just outside Philadelphia.  It was designed by Paul Phillipe Cret and includes a significant arboretum and horticultural program.  Albert loved to educate.  Having had issues with "the establishment" in Philadelphia and arguments with the politicians of the day, Albert decided to collect and exhibit on his own terms.  He put many restrictions on the ability of others to enjoy his life's work.  For years neighbors complained about the traffic, noise, and lack of privacy that they had to endure.  A bitter battle raged for years. 

Albert Barnes died in a car accident in 1951 and stipulated in his will that his art work NEVER be moved.

The Barnes Collection is significant and varied.  It is estimated to be worth 25 billion dollars.  What garners the most attention, aside from the depth and breadth of the artists represented, is the style in which it hangs.  Mr. Barnes very purposely hung the art work in "ensembles"; formal arrangements guided by the principals of light, line, color, and space.  The ensembles changed as the collection grew and each piece related differently to another, whether it be a painting or iron work that might have a similar shape represented within it.

  

The trust was broken and the Barnes recently moved into it's new $150 million dollar home.  The modernist building was designed by NY architects Tod Williams and Billie Tsien.  It is 10 times larger than the Merion space and includes a conference center, restaurant, and library.

Keeping Mr. Barnes' vision alive was the one thing that everyone agreed must be adhered to.  To that end, all the galleries were meticulously recreated and art work hung exactly as they were in Merion, inch by inch, object by object.  The ceiling was designed and built to accommodate Matisse's The Dance. 

It seems no matter whom you ask that is familiar with the controversy, everyone has an opinion about whether the city did the right thing.  Should the trust have been broken?  What good is a world famous art collection if it can't be seen by the world?  Was it entirely politically motivated?  Is the modernist building appropriate and reflective of the art inside?  It's a magnificent collection that can now be seen and enjoyed by the masses; important by anyone's standards ~ so does anything else matter?

What are your thoughts?

Ironiclly, The new Barnes Foundation sits next to The Rodin museum which was built by Paul Phillipe Cret.


Ph: Michael Bryant, The Barnes Foundation, #3 via slowpainting

Beauty Behind Bars

Using Eastern State Penitentiary as a backdrop and metaphor, artist Judith Schaechter created beautiful stained glass panels in the gloomiest of places.  She wondered, "What would a prisoner think while looking out the window?"  These windows are more than a ray of hope in what once was a hopeless place.

The largest of 17 windows is in a transom in cell block 11.  It is entitled, "The Battle of Carnival and Lent."  It's based on the 16th C. original by Pieter Breughel, but with many liberties taken.

Judith's characters, cartoon or clown like, depict the angel vs. devil battle over control issues.  The monks representing lent, clash with the clowns in a riot scene; an epic battle.  Control, religion, and class are timeless themes and, certainly prevalent in prison.

In the sliver of skylight ~ panels were installed dealing with themes such as redemption, repentance, religion, rehabilitation.

Dark humor and characters such as Prometheus, Atlas, Andromeda, Mary Magdalene, and Noah make appearances in the panels.

The myth of Icarus, as represented by the wings and outstretched arm tells the tale of a Greek figure who flew too close to the sun, even after being told not to.  Judith wonders, "Why be punished for dreaming big?"

The beauty of the stories the colored glass tell set amidst the decaying walls and dusty environment create a powerful experience.

phs: CLI, Claire Oliver

Egg (like) cellent Idea...

 I saw what looked like broken egg shells hand painted on the inside in a booth at one of my favorite vendors appearing at the gift show.  Gold Leaf Design is always a "go to" booth for me.  I knew I had to do something with them.  I always imagined I would use the gold or silver; it just seemed more like me, but I did find a home for them in purple.  Since that time, I see they have popped up in other interesting places as well.

W Hotel, Times Square

If only I had seen this a few days ago when I did my Outdoor Shower post.  I love the way this looks, but not sure how the eggs would wear, if unprotected.  They are quite fragile in person.

Gold Leaf Designs

From afar it reminded me of a still from the movie, The Birds, but up close it is really cool

The Muse 

This is how I imagined the egg-like installation for a client.  It is fascinating to see many different interpretations.  Each designer , given the same object, applied it in a completely different way.

Carrie Leskowitz Interiors