Barnes opens in Philadelphia – with more Renoirs, Cézannes than all of France

Philadelphia, the city that gave us Poor Richard, cheese-steak sandwiches and the American Constitution, just opened a new treasure: the Barnes Foundation, one of the premier privately assembled collections of painting in the U.S. with more dreamy Renoirs and searching Cézannes than in the whole of France.

Its arrival in May halfway between the landmark City Hall and Museum of Art on Benjamin Franklin Parkway — Philly’s Champs Élysées — gives visitors a chance to see what was once an almost secret stash of great art.

The catalog is astounding, even apart from Renoirs and Cézannes.

…all previously hard to access, thanks in part to the collection’s former home in Merion, PA, a 45-minute bus ride from downtown. The foundation rarely lent works to other museums, prohibited reproductions and restricted visitation.

Curmudgeonly founder Albert C. Barnes, a medical doctor, chemist and self-made millionaire with a boulder-size chip on his shoulder, once called Philadelphia “a depressing intellectual slum.” He started buying art in the early part of the 20th century and conceived of his collection as an educational institution, not a gathering place for high-society “Sunday” dabblers in art.

It took more than 50 years to give the collection a new home that is open to the public. Not everyone loves it.

 

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Shepard Fairey discusses how he came up with artwork for Time's Protester of the Year

I’m happy with this Time cover mostly because I’m proud to help acknowledge and amplify the influence of protest movements this year, especially Occupy Wall Street. Exposure leads to dialogue, and I’m glad that the issues Occupy is concerned with are finally being discussed.

With the cover image I wanted to capture the dedication and spirit of defiance that any protester must possess in the face of arrest or worse.

Time provided me with images to sift through and I illustrated from a photograph that I thought would be a good reference for an iconic and compelling protester. In my art I try to emphasize the most powerful essence of an image and eliminate anything superfluous. In this case I felt there was a powerful contrast between the intensity of her eyes and her unthreatening yellow knit beanie. I wanted the protester to come across as serious, but not scary. Most of the protesters I’ve met are normal, idealistic, young adults, so I thought the “person next door” feel was important.  Ironically, I found out that the subject of the photo I illustrated from is an LA resident and employee of the Robert Berman gallery who I have worked with. I hope to meet or speak to her at some point.

This Time issue is a documentation of an irrefutable  phenomenon, not an incitement to protest(I wish I had that degree of influence over Time’s agenda) even though I do encourage people to stand up for their beliefs and protest if necessary . Regardless, if this Time cover encourages others to stand up for their ideals, I think it is a victory.

Shepard

And, the artwork:

Continue reading Shepard Fairey discusses how he came up with artwork for Time's Protester of the Year

Shepard Fairey discusses how he came up with artwork for Time’s Protester of the Year

I’m happy with this Time cover mostly because I’m proud to help acknowledge and amplify the influence of protest movements this year, especially Occupy Wall Street. Exposure leads to dialogue, and I’m glad that the issues Occupy is concerned with are finally being discussed.

With the cover image I wanted to capture the dedication and spirit of defiance that any protester must possess in the face of arrest or worse.

Time provided me with images to sift through and I illustrated from a photograph that I thought would be a good reference for an iconic and compelling protester. In my art I try to emphasize the most powerful essence of an image and eliminate anything superfluous. In this case I felt there was a powerful contrast between the intensity of her eyes and her unthreatening yellow knit beanie. I wanted the protester to come across as serious, but not scary. Most of the protesters I’ve met are normal, idealistic, young adults, so I thought the “person next door” feel was important.  Ironically, I found out that the subject of the photo I illustrated from is an LA resident and employee of the Robert Berman gallery who I have worked with. I hope to meet or speak to her at some point.

This Time issue is a documentation of an irrefutable  phenomenon, not an incitement to protest(I wish I had that degree of influence over Time’s agenda) even though I do encourage people to stand up for their beliefs and protest if necessary . Regardless, if this Time cover encourages others to stand up for their ideals, I think it is a victory.

Shepard

And, the artwork:

Continue reading Shepard Fairey discusses how he came up with artwork for Time’s Protester of the Year