Albert C. Barnes Correspondence 1902-1951 ABC
- Page 7 -
a certified Francesco Ruggieri violin from the Rudolph Wurlitzer Company for Besekirskii to play
when in Merion. Usually, a small number of guests were invited to enjoy these musicales, some quite
distinguished such as Leopold Stokowski, conductor of the Philadelphia Orchestra, and American
philosopher and educator John Dewey.
In the fall of 1917, Barnes enrolled in a post-graduate philosophy seminar taught by John Dewey (1859 –
1952) at Columbia University. The class consisted of ten students, each encouraged by Dewey to express
their opinions in the form of a round-table discussion. Barnes said that, “since the death of William
James, Dewey has been the unquestioned head of American philosophic thought, and he is simple,
plain, penetrating, inspiring and intensely interesting.”(13) Barnes and Dewey became close friends and
confidants, their friendship and correspondence eventually spanning more than three decades. In his
book, Democracy and Education (1916), Dewey asserted that while complex societies require the kind of
formal education that institutions provide, this type of learning separates students from a direct experience
with life. Inspired by Dewey, and with the encouragement of Dewey’s wife, Alice, Barnes decided to
expand his factory seminars into a more advanced experiment in education.
THE BARNES FOUNDATION
On October 13, 1922, Barnes purchased “Red-Slates,” the Joseph Lapsley Wilson (1844 – 1928) estate
situated on a fifteen acre arboretum near his home on Latch’s Lane. He received a charter from State
of Pennsylvania on December 4, 1922, to establish the Barnes Foundation, an educational institution
dedicated to promoting the appreciation of fine art and arboriculture. Barnes hired architect Paul Philippe
Cret (1876 – 1945) to design a residence and a gallery on the arboretum grounds. He immersed himself
in every step of the construction, from the selection of the building stone, Pouillenay and Coutarnoux,
shipped by steamer from France, to decisions regarding interior wall coverings. Barnes complained that
Cret’s exterior façade designs looked like “bull’s eyes” and replaced them with bas-relief sculptures
commissioned from artist Jacques Lipchitz (1891 – 1973). He engaged the Enfield Pottery and Tile
Works to create the ceramic tiles for the front portico of the gallery building, selecting both the tile colors
and the insets of African design elements such as the mask and crocodile motif from the Ivory Coast
Baule door (A238) in his collection.
Dr. Barnes acquired his vast collection of African art from Paris art dealer Paul Guillaume (1891 – 1934).
He most likely met Guillaume upon resuming his visits to France after the First World War, and the two
soon developed a friendly business relationship. Guillaume became Barnes’s principle agent in Paris,
handling purchases and exchanges with other dealers and eventually being named the Foundation’s
“Foreign Secretary.” In 1923, while the Foundation buildings were under construction, Barnes organized
an exhibition of his acquisitions of African art and Modern paintings at Guillaume’s gallery in Paris.
The Modern paintings, which were well received in France, unfortunately met with contempt from the
Philadelphia press when they were exhibited in the Pennsylvania Academy of the Fine Arts in April of
that year.
Both Barnes and Guillaume published essays about the influence of African sculpture on the Modern
movement in art, a view that attracted the interest of notable African Americans such as Howard
University professor Alain Locke (1886 – 1954) and social activist Charles S. Johnson (1893 – 1956).
In early 1924, Johnson invited Barnes to a party in New York for young African American writers after
which they discussed providing scholarships for some to study African art. Barnes devised an educational
program, the “New Plan for Negro Education,” an idea which Charles S. Johnson proposed to James
Albert C. Barnes Correspondence 1902-1951 ABC
- Page 8 -
Weldon Johnson of the N.A.A.C.P.(14) Barnes contributed to and became a lifetime member of the
Association for the Study of Negro Life and History, directed by Carter G. Woodson,(15) and donated
generously – and anonymously – to the National Urban League in support of their journal, Opportunity: A
Journal of Negro Life, edited by Charles S. Johnson.
While Barnes continued to manage the A.C. Barnes Company, to direct all aspects of the construction
of the Barnes Foundation buildings, and to collect remarkable works of art, he also began working on a
book that would become the primary text used in the Foundation’s educational program. Barnes hired
his former tutor, philosophy professor Laurence Buermeyer (1889 – 1970), to help with the structure of
the book, one he believed would be the first of its kind that “endeavored to attach the flesh and blood of
practical experience with paintings and with plain people.”(16) Barnes and Buermeyer shared common
intellectual interests – Barnes attended John Dewey’s seminars at Buermeyer’s suggestion – and their
relationship, while often troubled, remained constant over the years. Once Buermeyer completed the work
of organizing notes and editing drafts, he made yet another important suggestion to Barnes. He said, “I
like 'The Art in Painting' better than 'New Pictures from Old' as a title for the book… .”(17) The Art in
Painting (1925) was published just weeks before the Barnes Foundation’s official opening.
Days after the Foundation first received its charter in 1922, Barnes expressed the idea of working with
area colleges to develop a synthesis of the philosophies of Dewey and Santayana, an adaptation for
the average student. He asked Laurence Buermeyer to provide further clarification to students visiting
the Gallery because he thought him to be “the best qualified intellectually to carry out the plan.”(18)
However, it was philosophy professor Thomas Munro (1897 – 1974) who taught the first classes
beginning in 1924, one offered through the University of Pennsylvania and the other at Columbia
University. Painter Sara Carles, sister of Philadelphia artist Arthur B. Carles, joined Mary Mullen on the
teaching staff, and Barnes himself began speaking for two hours in front of the paintings on Fridays and
Sundays. Also in the spring of that year, Barnes published the first Journal of the Barnes Foundation,
featuring articles by Buermeyer, Mary Mullen, and Munro.
The Barnes Foundation officially opened on March 19, 1925, with a celebration that took place on “a
beautiful sunshiny afternoon… [with] some two hundred people present.”(19) John Dewey, whom
Barnes asked to serve as “honorary” director of education, gave the first address. He noted that the
Foundation’s focus was, in fact, a culmination of Barnes’s enduring interest in education, an extension
of the experimental classes held in the laboratories of A.C. Barnes Company, and he also emphasized
Barnes’s continued commitment to African Americans and “every-day people.”(20) When Barnes asked
Leopold Stokowski to speak on behalf of all artists, he explained why:
Stokowski said, “I will do it because I believe in your idea.”(22)
DR. BARNES AND MUSIC
When Barnes introduced music to his Sunday afternoon talks – reminiscent of the Sunday musicales
at “Lauraston” – it emphasized Buermeyer’s assertion that art was only one manifestation of the
Foundation’s interest in total human development. Barnes said, “It’s amazing how close are the
affiliations between music and paintings,”(23) and, with recordings, demonstrated the kinship between
Mozart and Prendergast, Beethoven and Cézanne, Gluck and Renoir, and Picasso and African American
spirituals. He must have welcomed the opportunity to introduce his students to spirituals, music he clearly
loved. Barnes said, “When I was about eight years old, I went to a negro camp meeting and have never