In The Maverick's Museum: Albert Barnes and His American Dream, art critic Blake Gopnik tells us, in his well-documented tome, all about Philadelphia's modern art collector and philanthropist (1872-1951) who established the Barnes Foundation, who grew up in an impoverished childhood, leaving him keenly aware, sensitive to and devoted to those less well-off than he became.
From the lower socio-economic classes like he had known, he hired many who worked for him for years. He appointed them to various positions on his board, providing mortgages, higher education, medical bills, scholarships.
Years ahead of race-consciousness and sensitivity to people of different color, Barnes was a keen and sincere (for the most part) practitioner of equal opportunity.
His goal was to have art enthusiasts look at art the way that he did and improve society (?). No free thinking allowed, s'il vous plait!
It was not to be, but for some, it endured...for a while.
When Russell was “down and out,” Barnes hired him to teach at his foundation, but later grew disgruntled after Barnes deemed Russell’s wife too haughty. By lawyering, Barnes found a way to sue Russell for breach of contract, but Russell countersued and won more than Barnes owed him.
It was an outstanding example of the typical adverse relationship Barnes seemed to enjoy, many fights he had with notables and others he encountered, who he thought denigrated him in some way (the Philadelphia Museum of Art was one institution), insulting them with horrible words (a la Trump but with a much broader vocabulary).
Barnes made his money early in life by the invention of the drug, Argyrol, he developed with a German scientist, Hermann Hille, which was used to treat infant eye infections.
For a while, he searched for ways to spend his accumulating wealth and voila! With the help of schoolmate and artist, William Glackens, Barnes found it in art.
His collection grew to include more Renoirs than found anywhere else in the world (181; Barnes particularly enjoyed the artist's female flesh works), 69 Cezannes (more than found in France), 59 Matisses, plus works by Manet, Degas, Seurat, Prendergast, Titian, Picasso and Van Gogh. (Alas, Barnes turned down Van Gogh's Starry Night, now hanging at the Museum of Modern Art in New York.)
There was a Mrs. Barnes, but she occupies a small portion of the book, notably towards the end, a horticulturalist who received awards for her interest. Her general absence from the book leaves the impression that she was merely another piece of art hanging on the wall, but one of less value.
The couple had no children.
The book is slow to begin but picks up speed after a few pages and is an excellent read for art lovers, for Philly residents, for visitors to the Barnes, and others who follow eccentric personalities which I guess most of us are.
You can't visit the Barnes Collection the same way again, and I can’t wait to get back, equipped with this background.
Note: For the second edition, may I suggest an inversion of the title: The Museum's Maverick.
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