Screen Scene: “The Art of the Steal”

“The Art of the Steal” is a documentary that tells the age-old story of a big, bad corporation preying on a poor, innocent victim. But in this case, the victim is not some impoverished old lady or ill-equipped small village. In this film, we shed a tear for Dr. Albert C. Barnes, who became a millionaire by the age of 35.

The documentary follows the history not so much of Barnes but of his famed collection of Post-Impressionist art. After developing an antiseptic silver compound called Argyrol in the beginning of the 20th century, Barnes became extremely wealthy and decided to begin amassing what is now known as one of the most impressive art collections in history.

Forty-six Picassos, 181 Renoirs, 69 Cézannes, 59 Matisses ““ the list goes on for days. Barnes’ art collection surpasses any museum of today and is referred to as “a perfect jewel box” and “a living piece of history” in the film. These well-chosen paintings and sculptures are estimated to be worth $25 billion.

But instead of loaning his acquisitions to museums or galleries, Barnes chose to create his own sort of museum, called the Barnes Foundation. Forgoing the staunch rules we all expect at museums today, the Barnes Foundation grouped paintings not by style or year, but by general aesthetic. As noted in the film, a Cézanne might be hung next to a door lock, among some furniture ““ no titles or lines or whitewashed walls.

Barnes also used this building as a school for aspiring young artists. There, he attempted to provide students with nondiscriminatory access to art and education.

When Barnes died in a 1951 car crash, it was clearly stated in his will that the paintings were never to leave the school, and that the institution was to continue on. Of course, $25 billion worth of art is hard to keep in one privately-owned building, and this is where the drama unfolds.

Though Barnes left the control of his collection to a small African-American college called Lincoln University, the safety of his priceless collection was at stake. “The Art of the Steal” chronicles how the collection switches possession and how each holder finds ways to further his or her own interests instead of the institution’s. Ultimately, it comes down to a showdown between the former students and teachers of the Barnes Foundation and some powerful political players in Philadelphia.

The story is complicated, but between interviews with the students, newspaper headlines and the collection’s one-time proprietor Richard H. Glanton, the film stays pretty interesting. The time-elapsed footage of Philadelphia is an unusual and welcome tactic to show the time passing as the history unfolds. Try not to look up too much information, as it’s riveting to guess whether Barnes’ wishes will be fulfilled.

At times, “The Art of the Steal” tends to get technical, with lawyers and activists spewing legal and economic jargon that is hard to follow. Though there is a bit of redundancy among the interviews, the eccentric and caricatured people involved are enough to keep the audience interested. The “artsy” students and teachers create a delightful contrast with the stiff politicians and businessmen who can only see the collection as a number.

For anyone who marvels at Sotheby’s painting auctions or who can appreciate the works we have here at museums such as the Museum of Contemporary Art, “The Art of the Steal” is a fascinating demonstration of the economic and political side of the art world. It’s worth seeing the film just to experience Barnes’ incredible eye for modern art, and to see some of the most incredible works of Post-Impressionism.

E-mail Carroll at [email protected].