Vanishing Perspective
Time is running out for Philly-bound art lovers hoping to see one of the world’s most distinctive museums.
View of the Main Gallery at The Barnes Foundation
© BARNES FOUNDATION
THE NUMBERS are astounding. Works by Matisse: 59. Works by Cezanne: 69. Works by Renoir: 181. All of these masterpieces are part of a multibillion-dollar heist that’s being pulled off right now in the suburbs of Philadelphia. It’s all happening in broad daylight — and you can see them before they’re gone, if you hurry.
Just head to a magnificent Beaux-Arts mansion in Lower Merion, PA, which houses one of the world’s finest collections of French Impressionist, Post-Impressionist and early Modern paintings. The eccentric Albert C. Barnes — who had a thorny relationship with the cultural establishment of his time and unconventional views about education — began collecting in 1912 and established The Barnes Foundation in 1922.
Creating what he believed was the ultimate place to see his beloved art — inside a 1920s building in a romantic suburban setting, complete with an 1880s arboretum sheltering flower-filled gardens — Barnes had peculiar ideas about how art should be enjoyed, overstuffing the walls with paintings, then filling gaps with commonplace objects (ornamental ironwork, tribal art) to complement them. He attempted to ensure the displays would remain that way forever, demanding in the bylaws of the organization that nothing should ever be moved from this setting. But that’s exactly what is about to happen.
A brand-new museum built specifically for The Barnes Foundation’s collection is scheduled to open next May in downtown Philly. The sleek building — two buildings, actually, united by a modernist glass “light box” — is half complete, and the bottom floor galleries of the original Barnes will remain open until July 3.
Many in the art world vehemently object to the coming move, with gallery owners and dealers like New York’s Richard Feigen writing op-eds (Feigen called it the “biggest heist in history”); and art critics offering passionate commentary. Los Angeles Times writer Christopher Knight calls the move “a gut-wrenching tragedy,” insisting that the Barnes’ site-specific magic can’t be replicated by architects “no matter how seriously they try.” The controversy and drama even inspired the acclaimed documentary The Art of the Steal. And while local activists are fighting the plans and legal appeals continue, the courts have so far supported the move.
Of course, there are those who think a lot of good will come from the new, more centrally located museum, which plans to decorate each wall exactly as Barnes did — everyday objects and all. You’ll have an easier time getting in. You’ll be greeted by cafés, bookstores and all the comforts of a major metropolitan attraction. And, of course, you’ll see the same breathtaking art.
All arguments aside, one thing is certain: The current museum has endured recent struggles. Because of its jewel-box size and residential setting, zoning restrictions limit how many people can visit per week (hence the reservation-only entry policy). The restricted attendance has jeopardized its financial health, and trustees decided it could not survive without a larger, more accessible home.
And whether or not you’re in favor of this new home, it is opening — which means now is the time to make a reservation and experience Albert C. Barnes’ original vision before it’s gone.
Reader Comments
- There are no comments posted yet. Be the first one!
