Last evening I viewed a documentary/opinion movie entitled “The Art of the Steal.” It focused upon how the Philadelphia Museum of Art managed to acquire and control the most important and valuable private collection of art, known as The Barnes Foundation, established by Albert C. Barnes in 1922. This foundation housed one of the world’s largest collections of Impressionist, Post-Impressionist and early Modern paintings purchased by Dr. Barnes with money he made from pharmaceuticals. At this point the collection is worth an estimated $35 billion. Housed in a beautiful building (photo) nearly five miles south of Philadelphia, Barnes hung his collection for the purposes of education. The Foundation’s “school” annually enrolled a small number of fine art students under the instruction of an even smaller contingent of faculty. The public was allowed access to view the collection only two days a week. Barnes hated the social elite in Philadelphia and had his lawyers draft a will to keep his Foundation intact and specifically out of the hands of the Philadelphia Museum of Art.
Time, greed, loopholes in the will, and political shenanigans undermined Barnes’ attempt to keep his Foundation intact as a private instructional institution with limited public access. In the year 2014 his collection will move into a newly constructed building in association with the Philadelphia Museum of Art, and under the control of the Pew Foundation. This, of course, will bring in millions of tourist dollars annually for the city of Philadelphia. Barnes must be rolling in his grave.
Time, greed, loopholes in the will, and political shenanigans undermined Barnes’ attempt to keep his Foundation intact as a private instructional institution with limited public access. In the year 2014 his collection will move into a newly constructed building in association with the Philadelphia Museum of Art, and under the control of the Pew Foundation. This, of course, will bring in millions of tourist dollars annually for the city of Philadelphia. Barnes must be rolling in his grave.
I mention all this because it raises an interesting question: Is it imperative that the general public gain access to any and all significant private collections of fine art that exist? In other words, is the owner of a significant private collection of fine art beholden to the general public to share it? Who really owns great works of art, and when is a collection significantly large enough to become public domain?
What is your viewpoint?