"The Maverick's Museum," reviewed in the Wall Street Journal, tells the captivating, if sometimes frustrating, story of Albert Barnes and his unique art collection. Author Henrietta McBurney paints a portrait of a complicated man, driven by both egalitarian ideals and a fiercely independent spirit, which led to both the groundbreaking educational program at his Barnes Foundation and his infamous battles against the Philadelphia art establishment. The book delves into Barnes' unconventional methods, from his focus on aesthetic experience over artistic pedigree to his embrace of African sculpture and Pennsylvania German furniture alongside masterpieces by Renoir and Cézanne. While acknowledging Barnes' flaws and dictatorial tendencies, McBurney ultimately celebrates his visionary approach to collecting and his enduring legacy.
In her meticulously researched and captivatingly narrated biography, The Maverick's Museum: Albert C. Barnes and the Art of Collecting, art historian and critic, Alexandra Peers, presents a comprehensive exploration of the life and legacy of Albert C. Barnes, the eccentric and fiercely independent pharmaceutical magnate whose idiosyncratic art collecting practices and pedagogical philosophies continue to reverberate through the art world today. Peers delves into the intricate tapestry of Barnes's life, tracing his journey from humble beginnings to immense wealth, meticulously detailing the evolution of his discerning eye and the unconventional methods he employed to amass one of the most extraordinary collections of Post-Impressionist and early Modern paintings in existence. The narrative meticulously unfolds, revealing the intricate interplay of factors that shaped Barnes's distinctive approach to collecting, from his early exposure to European avant-garde art during his travels abroad to his profound intellectual engagement with the philosophical tenets of John Dewey and his commitment to fostering democratic access to art education.
The book painstakingly reconstructs the genesis and development of the Barnes Foundation, established by Barnes in 1922 as an educational institution dedicated to the appreciation and understanding of art. Peers elucidates the complex and often contentious relationship between Barnes and the established art world, highlighting his disdain for conventional art historical narratives and his unwavering belief in the transformative power of art experienced directly and intuitively. She carefully examines the controversies that surrounded the Foundation during Barnes's lifetime, including the restricted access policy that fueled public criticism and legal battles, providing a nuanced perspective on the motivations behind Barnes's unconventional approach to art exhibition and education.
Moreover, Peers's narrative extends beyond the confines of Barnes's personal history, offering a broader examination of the evolving landscape of art collecting and philanthropy in the early 20th century. She situates Barnes's collecting practices within the broader context of the burgeoning art market of the era, highlighting the unique confluence of historical and cultural forces that enabled him to acquire masterpieces by Renoir, Cézanne, Matisse, and Picasso at remarkably affordable prices. The author also meticulously chronicles the legal and logistical challenges that ensued following Barnes's death in 1951, as his carefully orchestrated plans for the Foundation were contested and ultimately overturned, culminating in the controversial relocation of the collection to a new facility in Philadelphia. In its entirety, The Maverick’s Museum offers a richly detailed and insightful portrait of a complex and enigmatic figure, exploring the enduring impact of Albert C. Barnes on the art world and the ongoing debates surrounding his legacy as a collector, educator, and visionary.
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Hacker News users discuss the eccentric Albert Barnes, his unique art collection, and the book reviewing his life. Several commenters express interest in seeing the Barnes Foundation, noting its unusual hanging style and Barnes's specific viewing instructions. Some discuss the tension between preserving an artist's vision and making art accessible to a wider audience, questioning whether Barnes's rigid approach was ultimately beneficial. The debate touches upon the democratization of art and the role of institutions in shaping public access. Others share anecdotes or further information about Barnes, revealing his complex personality and the legal battles surrounding his collection. The overall sentiment seems to be one of intrigue and a desire to learn more about Barnes and his unconventional approach to art collecting.
The Hacker News post titled "The Maverick's Museum' Review: Albert Barnes and the Art of Collecting" has generated a modest number of comments, primarily focusing on Albert Barnes' eccentric personality and the unique nature of his art collection.
One commenter highlights Barnes' complicated relationship with the established art world, suggesting his unconventional approach and disdain for traditional art criticism stemmed from insecurity and a desire to control the narrative around his collection. This perspective paints Barnes as a complex figure motivated by a mix of genuine passion for art and a need for validation.
Another comment emphasizes the educational philosophy behind the Barnes Foundation, noting how Barnes intended the collection to be used for teaching and learning rather than mere aesthetic appreciation. This commenter expresses disappointment that the foundation's move to Philadelphia compromised this original vision, suggesting it became more of a traditional museum catering to a broader audience.
The accessibility of the collection is also discussed. A commenter points out the irony of Barnes' desire to make art accessible to working-class people while simultaneously making it incredibly difficult for anyone to actually see it. This underscores the contradictory nature of Barnes' approach, further emphasizing his complex personality.
One commenter briefly mentions the documentary "The Art of the Steal," recommending it for further insight into the controversy surrounding the Barnes Foundation's relocation.
Finally, a comment focuses on the unique hanging style of the Barnes collection, mentioning the mix of paintings, furniture, and metalwork displayed together. This reinforces the unconventional and highly personal nature of Barnes' curatorial approach, which prioritized his own aesthetic sensibilities over traditional museum practices.
While the comments aren't extensive, they provide a glimpse into various aspects of Albert Barnes and his legacy, touching upon his personality, educational goals, and the controversies surrounding his collection. They don't delve deeply into any single aspect, but offer a starting point for further exploration.