Quote:
Originally Posted by apetrella802
What actually is in the Will is a stipulation that the physiacal and spacial arrangement of the art work on the walls is NOT to be changed! Why? because as you probably know Barnes had a very ideosyncratic aesthetic philosophy which is reflected in the peculiar arrangment of his paintings. This is what was most important to him. This WILL(no PUN intended) be respected in the new building! Maybe over time this will change by the court order allowing the move does require that this be horored.
|
I have seen the Barnes collection both in its native Merion location as well at at the National Gallery in DC when the collection went on the road during the rehab of the Merion facility. The exhibit at the National Gallery displayed the collection in conventional Museum format: white walls, one painting to a wall, helpful information placard. After seeing both, I would strongly assert that Barnes might have had some offbeat ideas about aesthetics, but there was a method to his madness.
Seeing the Barnes paintings in DC was much like looking at the nice Cezanne paintings at the Philadelphia Art Museum. Very pretty, but the impact is much reduced compared to the way that Barnes chose to display the paintings in Merion. The Barnes arrangement somehow distills Impressionism and injects it straight into your veins.
At least for me, I got the sense of how all of the painters were attempting to play with the same elements of light, and line, and color, but each of them was playing with those elements in a unique way. It just isn't the same when the paintings are displayed in the conventional fashion.
Preserving the Barnes arrangements of the paintings is going to be key to the success of the museum. It is going to offer an art experience unlike anything else in the world...and you can see it only in Philadelphia.