The scenario in brief: Albert C. Barnes is an idiosyncratic, but very wealthy man who has a good eye for art in the early 20th century and manages to snap up a large collection of post-impressionist paintings that becomes very important. Instead of opening this up to public view, he hides it away in a suburb on Pennsylvania, accessible only to a select elite. If we are to believe this documentary, his act of cultural kidnapping was founded on personal animosity towards the eminences running the public works in Pennsylvania in his day. Hardly an excellent reason to deprive the nation of the opportunity to view great works of art.
But Barnes is not content with depriving his contemporaneous generation of these works and decides to drag his collection with him to the grave. He draws up an elaborate will that sets up a foundation that will keep the paintings sequestered away, mouldering under the gaze of small groups of specially-selected 'students'.
The film covers the efforts made to wrest control of this vitally important collection away from a group of preppy blue-bloods who wanted to remain true to Barnes' exclusive vision. We are shown a series of sniffy elitist aristos whining as the barriers that Barnes set up are slowly broken down. We are told, in shocked tones, that one common gent decided to leave the exhibition after remarking that Reubens' paintings contained a lot of fat ladies (gasp! - the implication is clearly that mere commoners should not be allowed to view and pass judgement on these cultural fetishes).
Finally, the Foundation teeters on bankruptcy and elected officials step in to ensure that the collection is maintained for the public good. In a final act of cultural vandalism they move it away from the tiny and vastly inappropriate secluded mansion Barnes provided and house it in a modern gallery where anyone can visit and enjoy these treasures. At this point the chosen talking heads erupt in a fury - the idea of common people leaving the imprint of their common eyeballs on work that should be restricted to the privileged elite is clearly beyond bearing.
Make no mistake, the intent of this film is to argue the case for the Barnes elitists, and it spends a lot of time spewing rants about how evil it was to open up the collection. I knew very little of the Barnes Foundation before seeing it, but based solely on the information the film provided it is blatantly obvious that the terms of Barnes' legacy had to be overthrown.
This art did not belong to Barnes, he only got to hold it for a while. This art belongs to the world, and the world finally has the chance to enjoy it.
But Barnes is not content with depriving his contemporaneous generation of these works and decides to drag his collection with him to the grave. He draws up an elaborate will that sets up a foundation that will keep the paintings sequestered away, mouldering under the gaze of small groups of specially-selected 'students'.
The film covers the efforts made to wrest control of this vitally important collection away from a group of preppy blue-bloods who wanted to remain true to Barnes' exclusive vision. We are shown a series of sniffy elitist aristos whining as the barriers that Barnes set up are slowly broken down. We are told, in shocked tones, that one common gent decided to leave the exhibition after remarking that Reubens' paintings contained a lot of fat ladies (gasp! - the implication is clearly that mere commoners should not be allowed to view and pass judgement on these cultural fetishes).
Finally, the Foundation teeters on bankruptcy and elected officials step in to ensure that the collection is maintained for the public good. In a final act of cultural vandalism they move it away from the tiny and vastly inappropriate secluded mansion Barnes provided and house it in a modern gallery where anyone can visit and enjoy these treasures. At this point the chosen talking heads erupt in a fury - the idea of common people leaving the imprint of their common eyeballs on work that should be restricted to the privileged elite is clearly beyond bearing.
Make no mistake, the intent of this film is to argue the case for the Barnes elitists, and it spends a lot of time spewing rants about how evil it was to open up the collection. I knew very little of the Barnes Foundation before seeing it, but based solely on the information the film provided it is blatantly obvious that the terms of Barnes' legacy had to be overthrown.
This art did not belong to Barnes, he only got to hold it for a while. This art belongs to the world, and the world finally has the chance to enjoy it.