The Art of the Steal

I've lived in the Philly area my entire life & followed the Barnes Foundation saga from the very beginning until its tawdry denouement and I don't understand some of the bizarre postings above.

No doubt the filmmakers had an agenda, which was that the Barnes should stay in Merion but the power brokers in Harrisburg and Philly colluded to drive it into the ground to force the move to the BF Parkway, which was entirely at odds with Dr. Barnes Last Will & Testament.

This was pretty convincingly driven home by the movie.

The collection isn't invitation only, you simply request a timed ticket on their website and you're in. The entrance fee is a reasonable $15 and the museum housing the collection is truly world class, on par with the Villa Borghese in Rome or the Frick in Manhatten, only better. It is truly one of a kind, one of the treasures of the art world.

It's true that the Barnes was mismanaged by Richard Glanton, the President of the Trustees, during the 1990's. His lawsuit against the Merion Neighbors Association was as disastrous as it was idiotic. But that was no excuse to move the whole operation to the Parkway. It seems it would have been quite easy to raise the money to keep it at Merion.

Who cares if the number of eyeballs weren't maximized? It was never intended to be run that way. And after Episcopal Academy moved away from it's previous City Line Ave location, an entrance from Route 1 (City Line Ave) could have easily been paved (Episcocal even offered to donate the land to make it happen, a fact oddly not mentioned in the film). This would have entirely eliminated the neighbors complaints. However, those talks went nowhere (did the power brokers intervene to squash that also?) Saint Joseph's University ended up buying the entire Episcopel property. I have no doubt SJU would have been more than willing to work something out with a treasure like the Barnes. Having a world renowned art institution as a neighbor would be woth that much, at least.

The question arises, "what would Barnes think of the move?". He despised the stuffy, Republican WASPs that ran Philadelphia and who looked down their noses at the upstart Barnes and his post impressionist art. He left control in his will to the downtrodden African Americans who ran Lincoln University, as a way to "stick it" to the powers that be. But now that those outsiders are actually the insiders, and helped engineer the move to the Parkway, would Barnes object? Who really knows.

In any event, I thought the documentary was great & recommend it highly.

Interesting and entertaining look at how a bunch of the powerful in Philadelphia basically conspired to take one of the great modern art collections in the world away from it's home in the suburbs, , and transplant them into Philadelphia proper, against the express wishes left in Albert C. Barnes will (made in 1922).

While there's no question the tactics used by those in power are sleazy, the film also ignores what I consider a key issue: Is it really such a bad thing that one of the most amazing collections of modern art be much more accessible to the public, even if it violates the will of a man with no heirs who has been dead over 50 years? At what point do old grudges - going both ways - count less than art belonging to the world? I'm not saying there are neat answers to such questions, but the film acts like there's no moral murkiness at all.

Similarly the film uses questionable tactics to argue its case. For example it's constantly stating how those on the 'other side' refuse to be interviewed. Yet, it is clear that the ideology of the film-makers is known to all involved -- the film is financed by one of the leaders of the group fighting against the collections movement, and guards at a gathering of those planning the art move know not to allow in this specific film crew, even mentioning their production company name. If you knew you a film was being made whose basic premise is that you're a swindler a cheat and a thief with no respect for art, would you agree to be interviewed?

Additionally, some of those who seem so calm and well reasoned while being interviewed and arguing the art should be left where it is, seem a little less impressive when you see them outside that same gathering screaming 'philistines!' at those going inside.

None-the less, I still enjoyed the film, and there's no question it does a good job exposing the fact that many of our biggest public trusts and charitable institutions have a lot going on besides 'acting in the public interest', and are willing to play dirty pool to get what they want. I just find it hard to see this as a case of moral outrage to rank with the Iraq war, or starving children, or the U.S. educational crisis. It's basically rich people hating on rich people. Fun, but not as nutritious as all that.

This is the most exciting and thorough documentary/reporting I have seen in years. This docu film plays out like the best of suspense novels. Anyone posting on this site (or anywhere else) about how this film is one-sided and doesn't tell the true story, is simply on the other side and trying to cover up. Dr. Barnes owned this collection and it was his wish that it never be moved. The film clearly demonstrates how a bunch of irresponsible, greedy, power brokers and some pretty ignorant and cheesy politicos twisted things around to get their way and move the art to central Philadelphia. If you've been around the block a few times, you will recognize in a New York minute who is lying and who is telling the truth. The amount of self-serving lies and twisted truths will enrage you as you watch. And like a lot of life these days, it all boils down to POLITICS and MONEY. The politicians who steered the downfall are shown to be ridiculous and completely transparent. And stupid, for they can't even tell a good lie. The friends, art critics and dealers who speak on behalf of the keeping the Barnes in Merion are engaging, articulate and often brilliant. Attorney Nick Tinari, a prior student of Dr. Barnes, who doesn't suffer fools gladly is a joy to watch; dynamic, outspoken and sharp as can be. As well, art dealer Richard Feigen's input and particularly his commentary as he strolls through a Post-Modern auction preview at Sothebys is PRICELESS and right on target. Dr. Barnes, a brilliant man who rightfully chose to do it his way, must be rolling over in his grave. The BARNES belongs in Merion!!!! and they've stolen it away.

It's about time this story was told for the entire world to hear the facts.

I am unnerved by two problems with previous reviewers here:

1) The Barnes Foundation is NOT a "museum"! It is an educational art foundation! Please do not keep referring to it as a "museum"!

2) Every, I repeat, every film has a point of view, and every documentary has its own "slant" or perspective. Why do reviewers think that a documentary must show all points of view. Did Fahrenheit 9-11? What about Food, Inc. or Supersize Me? Or The Smartest Men in the Room? Or Millhouse? (Do you want me to go on?) Please give one example of a documentary that gives all points of view!

One very salient point in this film is that Dr. Barnes' (and he did have a medical degree, so it is not dishonest to give him that label) will was thrown out by the court. A legal precedent which will have very serious ramifications.....

"The Art of the Steal" is about not only the greatest art theft in the world, but probably the greatest crime ever committed. And at this point, let's define "greatest". In this sense, "great" means comparatively large in size or number, unusual or considerable in power or intensity, and of an extreme or notable degree. It does not mean wonderful, first-rate, or good. This theft wasn't even deemed a crime in the first place and was committed by mobsters, city of Philadelphia politicians, and educators.

The documentary follows the story chronologically. It starts with Dr. Albert C. Barnes' educating himself about art and building an immense art collection. He's a good guy. He wanted to appreciate art for art's sake, not for its perceived value. He started the Barnes Foundation, complete with approximately $30 Billion dollars worth of art work by some of the world's most eminent painters. And, yes, that's Billion with a "B". The legal articles of incorporation for the Barnes Foundation made it very clear that this was a private, educational institution. Art students were encouraged to sign-up for classes or a visit. The "fat cats" of Philadelphia were not.

The next part of the documentary was Barnes' death in 1951. It makes you gasp if you think about what could happen to the Foundation if he didn't adequately prepare for its life after his death. The story kept weaving its way through twist after twist and for somebody who is completely uneducated in art history, each point was more shocking than the one before.

The good news is that Barnes' did adequately prepare the Foundation in the event of his death. He had a legal Will and Testament firmly in place. It was first left to his trusted friend, Violette de Mazia, and she did the best she could. Even in the event of her death, which happened in 1988, Barnes still had the legal ownership of the Foundation intact. The bad news is that greedy, manipulative people in power do not have to follow legal documents. To them the legal system is this little joke which they can just look down on and laugh at as they proceed to do the opposite of what was supposed to happen – legally and morally speaking that is.

"The Art of the Steal" is a great documentary because they even managed to get people like "educator" Richard Glanton, the Governor of Pennsylvania, the Mayor of Philadelpha, and a corrupt judge to speak in front of the camera admitting to what they did, in direct opposition to the law, completely nonchalant to their immoral actions. And the world just has to sit back and watch them commit the greatest crime ever.