The Barnes Foundation, established by scientist, entrepreneur, and educator Dr. Albert C. Barnes in 1922, is home to a legendary art collection. Barnes assembled one of the world’s largest and finest groups of post-impressionist and early modern paintings, with holdings by such luminaries as Renoir, Cézanne, Matisse, Picasso, Rousseau, Modigliani, Soutine, Manet, Monet, Seurat, Degas, Van Gogh, and Gauguin. The Foundation’s collection also holds significant examples of American art, including works by Demuth, Glackens, and the Prendergasts; African sculpture; Native American ceramics, jewelry, and textiles; Asian paintings, prints, and sculptures; medieval manuscripts and sculptures; Old Master paintings by El Greco, Rubens, Titian, and others; ancient Egyptian, Greek, and Roman art; and American and European decorative arts and metalwork. The presentation of the collection reflects Barnes’s educational and aesthetic approach: symmetrical “ensembles,” or wall compositions, combine works of different periods, mediums, cultures, and styles for the purpose of comparison and study. Texts by Judith F. Dolkart and Martha Lucy explore the Barnes Foundation’s collection, educational mission, ensembles, and individual works. Large color plates, little-seen archival photographs, and numerous gatefolds illustrate 150 of the greatest hits of the collection and twenty gallery ensembles.

The Barnes Foundation: Masterworks

Arts & Photography

Dolkart, Judith F.

Lucy, Martha

Gillman, Derek

History & Criticism

Skira/Rizzoli

Ellsworth Kelly: Sculpture on the Wall By Judith F. Dolkart (author) In 1950, Ellsworth Kelly (b. 1923) declared his aspiration to create "things to cover walls." His career has been devoted to exploring the intersection of painting, sculpture, and architecture in flat "painting/objects" that seem to float free of the wall, subverting the sculptural tradition of work in the round.Ellsworth Kelly: Sculpture on the Wall examines the relationship of his work to architecture, starting with his first commissioned works, created for the Philadelphia Transportation Building at Penn Center, particularly the monumental Sculpture for a Large Wall, 1956-1957. Published to accompany an exhibition, Ellsworth Kelly: Sculpture on the Wall, held at the Barnes Foundation, Philadelphia, May 4-September 2, 2013. 13 x 9.5 x .5 in., 61 pages, hardcover

Ellsworth Kelly: Sculpture on the Wall

Ellsworth Kelly

The Barnes Foundation

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<li>The first examination of the evocative paintings of the self-taught African American artist Horace Pippin in over twenty years</li>
<li>Accompanies a major exhibition at the Brandywine River Museum of Art April 25 - July 19, 2015</li>
</ul>
"A real and rare genius, combining folk quality with artistic maturity so uniquely as almost to defy classification." - Alain Locke
Horace Pippin's response to the question of what made him a great painter: "I paint it the way I see it." This exciting new publication will look closely at Pippin (1888-1946) as an artist who was embraced by the art world, yet remained independent, creating and upholding a unique aesthetic sensibility while also candidly, if subtly, expressing his opinions on a wide range of social issues. A self-taught master of form, color and composition, Pippin vividly depicted a range of subject matter, from scenes of war, history and religion, to sporting scenes, floral still lifes and intimate family moments. Accompanying a major exhibition at the Brandywine River Museum of Art, the book will be the first examination of the artist's work in twenty years and is an opportunity to re-examine Pippin with fresh eyes. His development as a self-aware, self-taught artist will be explored in-depth, looking at the rich pictorial language and multi-layered narratives of his paintings. Fully illustrated with over 60 works from around the United States, the book will introduce a new generation of scholarly voices, speaking to such issues as influence, racial and religious politics, and narrative truths in history.
Institutions lending to the Horace Pippin exhibition include: Archives of American Art, Smithsonian Institution, Washington, D.C.; Allen Memorial Art Museum, Oberlin College, Ohio; Art Institute of Chicago; The Butler Institute of American Art, Youngstown, Ohio; The Carnegie Museum of Art, Pittsburgh; Chester County Historical Society, West Chester, Pennsylvania; Cincinnati Art Museum; Davis Museum at Wellesley College, Massachusetts; The Fine Arts Museums of San Francisco; Fort Wayne Museum of Art, Indiana; Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D.C.; The Howard University Gallery of Art, Washington, D.C.; The Menil Collection, Houston, TX; The Metropolitan Museum of Art, New York; Museum of Art, Rhode Island School of Design, Providence; Museum of Fine Arts, Boston; Museum of Modern Art, New York; National Gallery of Art, Washington, D.C.; Neuberger Museum, Purchase, New York; New Jersey State Museum, Trenton; Pennsylvania Academy of the Fine Arts, Philadelphia; Philadelphia Museum of Art; The Phillips Collection, Washington, D.C.; Reynolda House Museum of American Art, Winston-Salem, North Carolina; Robert Brady Museum, Cuernavaca, Mexico; The Schomburg Center for Research in Black Culture, Art &amp; Artifacts Division, New York Public Library; Wichita Art Museum, Kansas.

Horace Pippin: The Way I See It

Lewis, Audrey

Francis, Jacqueline

Monahan, e

Marshall, Kerry James

Scala Arts Publishers, Inc.

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