Albert C.Barnes’s Art Collection

Albert Coombs Barnes (January 2, 1872 - July 24, 1951) was an American <http://en.wikipedia.org/wiki/United_States> inventor <http://en.wikipedia.org/wiki/Inventor> and art collector <http://en.wikipedia.org/wiki/Art_collector>. With the fortune made from the development of the antiseptic drug Argyrol <http://en.wikipedia.org/wiki/Argyrol>, he founded the Barnes Foundation <http://en.wikipedia.org/wiki/Barnes_Foundation>, a museum created from his private collection of art. It is strongly represented by paintings by Impressionist <http://en.wikipedia.org/wiki/Impressionist>, Post-Impressionist <http://en.wikipedia.org/wiki/Post-Impressionist> and Modernist <http://en.wikipedia.org/wiki/Modernist> masters, as well as furniture and crafted objects. It is located near Philadelphia, Pennsylvania <http://en.wikipedia.org/wiki/Philadelphia,_Pennsylvania>. Barnes was known as an eccentric figure who had a passion for educating the underprivileged. He created a special relationship with Lincoln University <http://en.wikipedia.org/wiki/Lincoln_University_(Pennsylvania)>, a historically black college <http://en.wikipedia.org/wiki/Historically_black_college> in the area, and gave the university a strong role in administration of his foundation [ 2 ].about 1910, when he was in his late 30s, Barnes began to dedicate himself to the study and pursuit of art. He commissioned one of his former high school classmates, the painter William Glackens <http://en.wikipedia.org/wiki/William_Glackens>, to buy several 'modern' French paintings. Glackens returned from Paris <http://en.wikipedia.org/wiki/Paris> with the 20 paintings that formed the core of Barnes' collection.1912, during a stay in Paris, Barnes was invited to the home of Gertrude <http://en.wikipedia.org/wiki/Gertrude_Stein> and Leo Stein <http://en.wikipedia.org/wiki/Leo_Stein>, where he met artists such as Henri Matisse <http://en.wikipedia.org/wiki/Henri_Matisse> and Pablo Picasso <http://en.wikipedia.org/wiki/Pablo_Picasso>. In the 1920s, art dealer Paul Guillaume <http://en.wikipedia.org/wiki/Paul_Guillaume> introduced him to the work of Amedeo Modigliani <http://en.wikipedia.org/wiki/Amedeo_Modigliani>, Giorgio de Chirico <http://en.wikipedia.org/wiki/Giorgio_de_Chirico>, and Chaim Soutine <http://en.wikipedia.org/wiki/Chaim_Soutine> among others. With money, an excellent eye, and poor economic conditions in the Depression <http://en.wikipedia.org/wiki/Great_Depression>, Barnes was able to acquire much important art at bargain prices. His first Picasso, for instance, was bought for under $100.was known for his antagonism to the discipline of art history, which he said "stifles both self-expression and appreciation of art." He also was an outspoken and controversial critic of public education and the museum. He set up his foundation to allow visitors to have a direct, even "hands-on", approach to the collection. He created it, he said, not for the benefit of art historians, but for that of the students.public showing in 1923 of Barnes' collection proved too avant-garde <http://en.wikipedia.org/wiki/Avant-garde> for most people's taste. The critical ridicule aimed at this show was the beginning of Barnes' long-lasting and well-publicized antagonism toward those he considered part of the art establishment. Barnes had his collection hung according to his own ideas about showing relationships between paintings and objects; for instance, paintings were placed near furniture and finely crafted hinges and metalwork. The pieces were identified in a minimal manner, without traditional curatorial comment, so that viewers could approach them without mediation.' interests included what came to be called the Harlem Renaissance <http://en.wikipedia.org/wiki/Harlem_Renaissance>, and he followed its artists and writers. In March 1925 Barnes wrote an essay "Negro Art and America", published in the Survey Graphic of Harlem, which was edited by Alain Locke <http://en.wikipedia.org/wiki/Alain_Locke>. He explained his admiration of what could be called 'black soul'. In the late 1940s Barnes met Horace Mann Bond <http://en.wikipedia.org/wiki/Horace_Mann_Bond>, the first black president of Lincoln University <http://en.wikipedia.org/wiki/Lincoln_University_(Pennsylvania)>, a historically black college <http://en.wikipedia.org/wiki/Historically_black_college> in central Chester County, Pennsylvania <http://en.wikipedia.org/wiki/Chester_County,_Pennsylvania>. They established a friendship that led to Barnes' inviting Lincoln students to the collection. He also ensured by his will that officials of the university had a prominent role after his death in running his collection.limited access to the collection, and required people to make appointments by letter. Applicants sometimes received rejection letters "signed" by Barnes's dog. In a famous case, Barnes refused admission to writer James A. Michener <http://en.wikipedia.org/wiki/James_A._Michener>, who gained access to the collection only by posing as an illiterate steelworker.was not until 1961 that the collection was open to the public regularly two days a week. That schedule expanded slightly in 1967. Up through the early 1990s, long after Barnes's death, access to the collection was extremely limited. The collection had difficulties raising enough money from attendees to provide for needed renovations to its building, as well as regular operating expenses. The Foundation decided to send 80 works to be exhibited on a three-year tour to raise money for needed renovations. The paintings and other works attracted huge crowds in numerous cities.to see the collection may be made by phone or over the Internet, but the number of visitors is controlled by the hour so the galleries are not too crowded [ 9, p. 143-150].

 

Getty Center

 

The Getty Center, in Brentwood, Los Angeles, California <http://en.wikipedia.org/wiki/Brentwood,_Los_Angeles,_California>, is a campus for cultural institutions founded by oilman J. Paul Getty <http://en.wikipedia.org/wiki/J._Paul_Getty>. The $1.3 billion Center, which opened on December 16, 1997, is also well known for its architecture, gardens, and views (overlooking Los Angeles). The Center sits atop a hill, which is connected to a visitor's parking garage at the bottom of the hill by a three-car, cable-pulled tram. The Center draws 1.3 million visitors annually.is one of two locations of the J. Paul Getty Museum <http://en.wikipedia.org/wiki/J._Paul_Getty_Museum>. This branch of the museum specializes in "pre-20th-century European paintings, drawings, illuminated manuscripts, sculpture, and decorative arts; and 19th- and 20th-century American and European photographs". Among the works on display is the painting Irises <http://en.wikipedia.org/wiki/Irises_(painting)> byVincent van Gogh <http://en.wikipedia.org/wiki/Vincent_van_Gogh>. Besides the Museum, the Center's buildings house the Getty Research Institute <http://en.wikipedia.org/wiki/Getty_Research_Institute> (GRI), the Getty Conservation Institute <http://en.wikipedia.org/wiki/Getty_Conservation_Institute>, the Getty Foundation <http://en.wikipedia.org/wiki/Getty_Foundation>, and the administrative offices of the J. Paul Getty Trust <http://en.wikipedia.org/wiki/J._Paul_Getty_Trust>, which owns and operates the Center. The Center also has outdoor sculptures displayed on terracces and in gardens. The Center was designed by architect Richard Meier <http://en.wikipedia.org/wiki/Richard_Meier> and includes a central garden designed by artist Robert Irwin <http://en.wikipedia.org/wiki/Robert_Irwin_(artist)>. GRI's separate building contains a research library with over 900,000 volumes and two million photographs of art and architecture. The Center's design included special provisions to address concerns regarding earthquakes and fire[ 2].

The Phillips Collection

Phillips Collection is an art museum <http://en.wikipedia.org/wiki/Art_museum> founded by Duncan Phillips <http://en.wikipedia.org/wiki/Duncan_Phillips_(art_collector)> in 1921 as the Phillips Memorial Gallery located in the Dupont Circle <http://en.wikipedia.org/wiki/Dupont_Circle> neighborhood ofWashington, D.C. <http://en.wikipedia.org/wiki/Washington,_D.C.> Phillips was the grandson of James H. Laughlin <http://en.wikipedia.org/wiki/James_H._Laughlin>, a banker and co-founder of the Jones and Laughlin Steel Company <http://en.wikipedia.org/wiki/Jones_and_Laughlin_Steel_Company>.the artists represented in the collection are Pierre-Auguste Renoir <http://en.wikipedia.org/wiki/Pierre-Auguste_Renoir>, Gustave Courbet <http://en.wikipedia.org/wiki/Gustave_Courbet>, El Greco <http://en.wikipedia.org/wiki/El_Greco>, Georges Braque <http://en.wikipedia.org/wiki/Georges_Braque>, Paul Klee <http://en.wikipedia.org/wiki/Paul_Klee>, Winslow Homer <http://en.wikipedia.org/wiki/Winslow_Homer>, James McNeill Whistler <http://en.wikipedia.org/wiki/James_McNeill_Whistler>, Augustus Vincent Tack <http://en.wikipedia.org/wiki/Augustus_Vincent_Tack>, and Mark Rothko <http://en.wikipedia.org/wiki/Mark_Rothko>.Phillips Collection, opened in 1921, is America’s first museum of modern art <http://en.wikipedia.org/wiki/Modern_art>. Featuring a permanent collection of nearly 3,000 works by American and European impressionist and modern artists, the Phillips is recognized for both its art and its intimate atmosphere. It is housed in founder Duncan Phillips’ 1897 Georgian <http://en.wikipedia.org/wiki/Georgian_architecture> Revival home and two similarly scaled additions in Washington, D.C.’s Dupont Circle <http://en.wikipedia.org/wiki/Dupont_Circle> neighborhood.museum is noted for its broad representation of both impressionist <http://en.wikipedia.org/wiki/Impressionism> and modern paintings, with works by European masters such as Gustave Courbet <http://en.wikipedia.org/wiki/Gustave_Courbet>, Pierre Bonnard <http://en.wikipedia.org/wiki/Pierre_Bonnard>,Georges Braque <http://en.wikipedia.org/wiki/Georges_Braque>, Jacques Villon <http://en.wikipedia.org/wiki/Jacques_Villon>, Paul Cйzanne, Honorй Daumier <http://en.wikipedia.org/wiki/Honor%C3%A9_Daumier>, Edgar Degas <http://en.wikipedia.org/wiki/Edgar_Degas>, Vincent van Gogh <http://en.wikipedia.org/wiki/Vincent_van_Gogh>, Paul Klee <http://en.wikipedia.org/wiki/Paul_Klee>, Henri Matisse <http://en.wikipedia.org/wiki/Henri_Matisse>, Claude Monet <http://en.wikipedia.org/wiki/Claude_Monet>, and Pablo Picasso <http://en.wikipedia.org/wiki/Pablo_Picasso>. In 1923, Phillips purchased Pierre-Auguste Renoir <http://en.wikipedia.org/wiki/Pierre-Auguste_Renoir>'s impressionist painting, Luncheon of the Boating Party <http://en.wikipedia.org/wiki/Luncheon_of_the_Boating_Party> (1880-81), the museum’s best-known work. the 1920s to the 1960s, Phillips would re-hang his galleries in installations that were non-chronological and non-traditional, reflecting the relationships he saw between various artistic expressions. He presented visual connections-between past and present, between classical form and romantic expression-as dialogues on the walls of the museum. Giving equal focus to American and European artists, Phillips juxtaposed works by Winslow Homer <http://en.wikipedia.org/wiki/Winslow_Homer>, Thomas Eakins <http://en.wikipedia.org/wiki/Thomas_Eakins>, Maurice Prendergast <http://en.wikipedia.org/wiki/Maurice_Prendergast>, James Abbott McNeill Whistler <http://en.wikipedia.org/wiki/James_Abbott_McNeill_Whistler>, and Albert Pinkham Ryder <http://en.wikipedia.org/wiki/Albert_Pinkham_Ryder> with canvases by Pierre Bonnard <http://en.wikipedia.org/wiki/Pierre_Bonnard>, Peter Ilsted <http://en.wikipedia.org/wiki/Peter_Ilsted> and Edouard Vuillard <http://en.wikipedia.org/wiki/Edouard_Vuillard>. He exhibited watercolors by John Marin <http://en.wikipedia.org/wiki/John_Marin> with paintings by Cйzanne, and works by van Gogh <http://en.wikipedia.org/wiki/Vincent_van_Gogh> with El Greco’s The Repentant St. Peter (circa 1600-05). Phillips’ vision brought together "congenial spirits among the artists," and his ideas still guide the museum today.Phillips Collection is also known for its groups of works by artists who Phillips particularly favored. For example, he was overwhelmed by Bonnard’s expressive use of color, acquiring 17 paintings by the artist. Cubist pioneer Braque is represented by 13 paintings, including the monumental still-life The Round Table (1929). The collection has an equal number of works by Klee, such as Arab Song (1932) and Picture Album (1937), as well as seven pieces by abstract expressionist artist Mark Rothko <http://en.wikipedia.org/wiki/Mark_Rothko>. The Rothko Room, the first public space dedicated solely to the artist’s work, was designed by Phillips in keeping with Rothko’s expressed preference for exhibiting his large, luminous paintings in a small, intimate space, saturating the room with color and sensation [ 7, p. 155-157].his lifetime, Phillips acquired paintings by many artists who were not fully recognized at the time, among them Marin, Georgia O'Keeffe <http://en.wikipedia.org/wiki/Georgia_O%27Keeffe>, Arthur Dove <http://en.wikipedia.org/wiki/Arthur_Dove>, Nicolas de Staлl <http://en.wikipedia.org/wiki/Nicolas_de_Sta%C3%ABl>,Milton Avery <http://en.wikipedia.org/wiki/Milton_Avery> and Augustus Vincent Tack <http://en.wikipedia.org/wiki/Augustus_Vincent_Tack>. By purchasing works by such promising but unknown artists, Phillips provided them with the means to continue painting. He formed close bonds with and subsidized several artists who are prominently featured in the collection-Dove and Marin in particular-and consistently purchased works by artists and students for what he called his "encouragement collection." The museum also served as a visual haven for artists such as Richard Diebenkorn <http://en.wikipedia.org/wiki/Richard_Diebenkorn>, Gene Davis <http://en.wikipedia.org/wiki/Gene_Davis>, and Kenneth Noland <http://en.wikipedia.org/wiki/Kenneth_Noland>. In a 1982 tribute to the museum, Noland acknowledged, "I’ve spent many hours of many days in this home of art. You can be with art in the Phillips as in no other place I know."Duncan Phillips died in 1966, Marjorie succeeded him as museum director. Their son, Laughlin, became director in 1972. He led The Phillips Collection through a multi-year program to ensure the physical and financial security of the collection, renovate and enlarge the museum buildings, expand and professionalize the staff, conduct research on the collection, and make the Phillips more accessible to the public. In 1992, Charles S. Moffett, a noted author and curator, was named director. Moffett was directly involved with the presentation of several ambitious exhibitions during his six-year tenure, including the memorable "Impressionists on the Seine: A Celebration of Renoir’s Luncheon of the Boating Party " in 1996.Gates became director in 1998. Under his leadership, The Phillips Collection continued to grow and broaden its presence in Washington, D.C., across the country, and internationally. Dorothy M. Kosinski, previously a curator at the Dallas Museum of Art <http://en.wikipedia.org/wiki/Dallas_Museum_of_Art>, took over as director in May 2008 [ 12, p.395 ].

 

Conclusion

American art has gone through all sorts of difficulties such as wars and revolutions that has affected on its development. Gradually there were various genres, styles and trends in American art.course work sought to provide an accurate and systematic description of American art.In the course work the main stages in development of painting in the US, the major genres of painting, the most famous museums and art galleries have been examined. The work has shown the most important periods in the development of American art, affects of various events in the country on it, the main genres of painting and its main representatives such as John Singleton Copley, Winslow Homer and James Peale.we knew about the most famous museums such as Museum of Modern Art, Solomon R.Guggenheim Museum, Museum of Natural History which contain many valuable exhibits and are very interesting for tourists.up the results of the research we should note that American art has made a huge contribution to the development of the world art. Its artists,paintings,galleries,museums embody all the beauty and sublimity of American culture.

 

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