Film Analysis: The Art of Steal
Sarah Kent
“The Art of the Steal” arguments. The Art of the Steal is a documentary film from 2009 about the scandalous battle between the city of Philadelphia and the Barnes Foundation over the impressive and extensive collection of post impression and early modernists paintings. Dr. Albert Barnes created his foundation as a school of art and that housed his private collection of art with paintings from the likes of Cezanne, Matisse, Degas, Renoir and Van Gogh, African sculptures, prints from Asia, and such. Upon Dr. Barnes death his will clearly laid out a plan for a trust and explicit directions for how it should be run to maintain the foundation. He intended for his property to remain the estate of the art school and home of his private collection of art works. Articles in his will specifically stated the art should never leave the walls of the building ever. This of course also implied that the collection would remain as a whole, and never separated for exhibition anywhere else or sold off. Dr. Barnes wanted the art to remain on the premises for the students to be able gain more inspiration and insight. Dr. Barnes had purchased each of these pieces with his own personal money and not from grants or any other moneys from and outside source. Several key players in the city of Philadelphia believed that the Barnes foundation art collection should be more readily accessible to the public since it belonged to humanity. They saw Barnes collection as a national treasure, and that is shame to keep it so locked away. The city felt that such a valuable collection could not be properly maintained in its private home. Being in the city it would attract a high number of tourists that would bring in more monies to provide in the upkeep and restoration of the paintings or so the argument goes. For my argument I would have to say I side with the Barnes Foundation and Dr. Barnes. These were his own private belongings that he personally collected. Also he made
“The Art of the Steal” arguments. The Art of the Steal is a documentary film from 2009 about the scandalous battle between the city of Philadelphia and the Barnes Foundation over the impressive and extensive collection of post impression and early modernists paintings. Dr. Albert Barnes created his foundation as a school of art and that housed his private collection of art with paintings from the likes of Cezanne, Matisse, Degas, Renoir and Van Gogh, African sculptures, prints from Asia, and such. Upon Dr. Barnes death his will clearly laid out a plan for a trust and explicit directions for how it should be run to maintain the foundation. He intended for his property to remain the estate of the art school and home of his private collection of art works. Articles in his will specifically stated the art should never leave the walls of the building ever. This of course also implied that the collection would remain as a whole, and never separated for exhibition anywhere else or sold off. Dr. Barnes wanted the art to remain on the premises for the students to be able gain more inspiration and insight. Dr. Barnes had purchased each of these pieces with his own personal money and not from grants or any other moneys from and outside source. Several key players in the city of Philadelphia believed that the Barnes foundation art collection should be more readily accessible to the public since it belonged to humanity. They saw Barnes collection as a national treasure, and that is shame to keep it so locked away. The city felt that such a valuable collection could not be properly maintained in its private home. Being in the city it would attract a high number of tourists that would bring in more monies to provide in the upkeep and restoration of the paintings or so the argument goes. For my argument I would have to say I side with the Barnes Foundation and Dr. Barnes. These were his own private belongings that he personally collected. Also he made
Cited: The Art of the Steal. Dir. Don Argott. Perf. Julian Bond, David D 'arcy and Richard H. Glanton. Prod. Lenny Feinberg. 2009.