The Barnes Foundation, established by scientist, entrepreneur, and educator Dr. Albert C. Barnes in 1922, is home to a legendary art collection. Barnes assembled one of the world´s largest and finest groups of post-impressionist and early modern paintings, with holdings by such luminaries as Renoir, Cézanne, Matisse, Picasso, Rousseau, Modigliani, Soutine, Manet, Monet, Seurat, Degas, Van Gogh, and Gauguin.The Foundation´s collection also holds significant examples of American art, including works by Demuth, Glackens, and the Prendergasts; African sculpture; Native American ceramics, jewelry, and textiles; Asian paintings, prints, and sculptures; medieval manuscripts and sculptures; Old Master paintings by El Greco, Rubens, Titian, and others; ancient Egyptian, Greek, and Roman art; and American and European decorative arts and metalwork.The presentation of the collection reflects Barnes´s educational and aesthetic approach: symmetrical ´´ensembles,´´ or wall compositions, combine works of different periods, mediums, cultures, and styles for the purpose of comparison and study.Texts by Judith F. Dolkart and Martha Lucy explore the Barnes Foundation´s collection, educational mission, ensembles, and individual works. Large color plates, little-seen archival photographs, and numerous gatefolds illustrate 150 of the greatest hits of the collection and twenty gallery ensembles. ´´
The first publication of the Barnes Foundation´s important and extensive African art collection. The Barnes Foundation is renowned for its astonishing collection of Postimpressionist and early Modern art assembled by Albert C. Barnes, a Philadelphia pharmaceutical entrepreneur. Less known is the pioneering collection of African sculpture that Barnes acquired between 1922 and 1924, mainly from Paul Guillaume, the Paris-based dealer. The Barnes Foundation was one of the first permanent installations in the United States to present objects from Africa as fine art. Indeed, the African collection is central to understanding Barnes´s socially progressive vision for his foundation.This comprehensive volume showcases all 123 objects, including reliquary figures, masks, and utensils, most of which originated in France´s African colonies-Mali, Côte d´Ivoire, Gabon, and the Congo-as well as in Sierra Leone, Republic of Benin, and Nigeria. Christa Clarke considers the significance of the collection and Barnes´s role in the Harlem Renaissance and in fostering broader appreciation of African art in the twentieth century. In-depth catalog entries by noted scholars in the field complete the volume.