A physician who applied his knowledge of chemistry to the
manufacture of a widely used antiseptic, Albert Barnes is best
remembered as one of the great American art collectors. The Barnes
Foundation, which houses his treasures, is a fabled repository of
Impressionist, post-Impressionist, and early modern paintings. Less
well known is the fact that Barnes attributed his passion for
collecting art to his youthful experience of African-American
culture, especially music. "Art, Education, and African-American
Culture" is both a biography of an iconoclastic and innovative
figure and a study of the often-conflicted efforts of an emergent
liberalism to seek out and showcase African American contributions
to the American aesthetic tradition.
Mary Ann Meyers examines Barnes's background and career and the
development and evolution of his enthusiasm for collecting pictures
and sculpture. She shows how Barnes's commitment to breaking down
invidious distinctions and his use of the uniquely arranged works
in his collection as textbooks for his school, created a milieu
where masterpieces of European and American late-nineteenth and
early-twentieth century painting, along with rare and beautiful
African art objects, became a backdrop for endless feuding. A
gallery requiring renovation, a trust prohibiting the loan or sale
of a single picture, and the efforts of Lincoln University, known
as the "black Princeton," to balance conflicting needs and
obligations all conspired to create a legacy of legal entanglement
and disputes that remain in contention.
This volume is neither an idealized account of a quixotic
do-gooder nor is it a critique of a crank. While fully documenting
Barnes's notorious eccentricities along with the clashing interests
of the main personalities associated with his Foundation, Meyers
eschews moral posturing in favor of a rich mosaic of peoples and
institutions that illustrate many of the larger themes of American
culture in general and African-American culture in particular.
General
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