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Art of The Steal The en
00:00:11	(feedback and reverb)
00:00:56	(soft dramatic music)
00:00:59	(Music continues)
00:01:04	Well, hello everybody.
00:01:06	This is a fabulous day
00:01:09	and we have some wonderful news
00:01:12	and I am so proud
00:01:15	the mayor of Philadelphia,
00:01:18	John Street.
00:01:20	(applause)
00:01:24	- Thank you,
00:01:27	Now, let me see,
00:01:29	(laughter)
00:01:30	Um, actually it is a very,
00:01:32	for all of us here
00:01:35	This has been--
00:01:38	and we're not
00:01:42	but let me tell you something.
00:01:44	It's one of those things
00:01:46	that will make our city special
00:01:49	You will not be able
00:01:51	and see the Barnes Collection.
00:01:53	You won't be able
00:01:55	You won't be able
00:01:57	If you want to see it,
00:01:58	you come to the city
00:02:00	And so it is
00:02:04	that we come here today
00:02:06	so that the Barnes Collection
00:02:10	Lower Merion?
00:02:11	- Merion.
00:02:12	- From Merion...
00:02:14	Actually,
00:02:16	that I was on a bike ride
00:02:19	and rode right past the place.
00:02:21	And I said,
00:02:23	(laughter)
00:02:25	In the city of Philadelphia
00:02:26	on the Benjamin Franklin
00:02:28	(frantic piano music)
00:02:32	- You know, this is a story
00:02:35	as it went along.
00:02:36	(tape cassette clicks)
00:02:37	- It is the greatest act
00:02:41	since World War II.
00:02:43	(hard rock music)
00:02:47	- It's been a circus.
00:02:48	You know, he couldn't take
00:02:50	up to heaven with him--
00:02:52	or wherever the heck
00:02:54	(Music continues)
00:02:56	- The name of the game is,
00:02:58	if you're gonna leave
00:03:00	don't let there be
00:03:01	a politician
00:03:05	(Music continues)
00:03:09	- It's America's treasure to be
00:03:15	(Music continues)
00:03:18	- Culture has become
00:03:20	Culture is an industry.
00:03:22	There's a culture industry
00:03:23	that requires new product.
00:03:27	(Music continues)
00:03:30	- This is about humanity,
00:03:32	but you can't put
00:03:34	I mean, obviously,
00:03:36	when you do that.
00:03:37	(Music continues)
00:03:39	- It's an example
00:03:41	all across the society,
00:03:43	and this is just one
00:03:46	that we can look at carefully.
00:03:48	(Music continues)
00:03:53	- No one knows this story.
00:03:55	This is a hidden story,
00:03:56	and it's a big, big scandal.
00:03:58	(Music continues)
00:04:02	This is the scandal of
00:04:06	(Music continues)
00:04:20	(cassette clicks and whirs)
00:04:25	- The Barnes is one of the Iast
00:04:27	in the United States.
00:04:29	The fight now
00:04:31	the foundation
00:04:33	should follow Barnes's wishes.
00:04:34	Here were Modern paintings
00:04:37	that they were the envy
00:04:39	in the world.
00:04:40	(birds chirping)
00:04:43	- This is the treasure trove
00:04:48	the Modern art of America
00:04:49	And this is the best of the best
00:04:52	- When you go through
00:04:54	it is jaw-dropping.
00:04:56	Your mouth falls open.
00:04:58	You can't believe
00:05:00	And then you go
00:05:01	and it's more and more
00:05:03	It's just incredible.
00:05:05	- I had an art handler there,
00:05:07	and the first time she picked up
00:05:12	she walked about three feet,
00:05:14	she put the painting back down
00:05:16	and she sat on a bench,
00:05:21	- They've got more Cezannes
00:05:23	than are in the entire city
00:05:25	There's 181 Renoirs,
00:05:29	59 paintings by Matisse.
00:05:31	The joy of life is always cited
00:05:34	because it's such
00:05:36	in the history of art.
00:05:38	Picasso: 46.
00:05:39	Seven by Van Gogh.
00:05:40	Six by Seurat.
00:05:42	The Seurat Models, now,
00:05:44	sort of a spectacular thing
00:05:48	- Uh, simply the concentration
00:05:50	of these particular masters
00:05:54	The Louvre doesn't have it.
00:05:55	The Museum of Modern Art,
00:05:57	the Metropolitan Museum,
00:05:59	- If you've been
00:06:01	you're used to walking in
00:06:03	these white walls
00:06:05	You know, it's like
00:06:09	- Barnes wasn't interested
00:06:12	He was interested
00:06:14	- The rooms are intimate.
00:06:16	They are not made
00:06:19	industrial-strength
00:06:22	- The Barnes Collection
00:06:26	not by artist,
00:06:30	- You can see that a Cezanne
00:06:36	and some furniture
00:06:38	Well, he had a reason for this.
00:06:40	- It's a completely
00:06:42	of understanding
00:06:44	and one's experience
00:06:47	- We see this collection
00:06:49	with a very interesting
00:06:52	- The Barnes Foundation
00:06:55	American cultural monument
00:06:56	of the first half
00:06:58	- From an arts
00:07:01	it is not a little place.
00:07:02	It's an absolutely essential,
00:07:05	earth-shakingly
00:07:08	(birds chirping)
00:07:12	(record needle crackling)
00:07:15	(projector whirring)
00:07:17	(brassy jazz music)
00:07:21	- Well, Albert Barnes
00:07:24	as really
00:07:25	because, I mean, he's--
00:07:26	he tends to be dismissed
00:07:28	a bizarre curmudgeon.
00:07:30	But in fact,
00:07:32	something of a genius.
00:07:34	- Dr. Barnes is
00:07:37	because I'm fascinated
00:07:41	from Philadelphia
00:07:42	who's boxing to help pay
00:07:47	how this young man creates
00:07:48	one of the most
00:07:50	of Early Modern art
00:07:53	- He was a brilliant kid
00:07:55	who came up out of the smoke
00:07:57	and became very successful.
00:08:00	(Music continues)
00:08:02	- Dr. Barnes made his way into
00:08:06	and then its medical school.
00:08:08	He realized
00:08:09	for a substitute
00:08:12	which, at that time,
00:08:14	a drop or two was put
00:08:16	of almost every baby born
00:08:19	to protect them
00:08:21	- # VD is for everybody #
00:08:27	- The product which Barnes
00:08:29	was something called argyrol.
00:08:31	- Barnes marketed something
00:08:33	that solved a huge problem
00:08:36	the wealth that would
00:08:38	imagine today that you had
00:08:40	a cure for AlDS.
00:08:42	Glackens,
00:08:44	who was an artist,
00:08:47	Barnes, being
00:08:49	immersed himself in it
00:08:50	in the same way
00:08:51	in any other objective
00:08:54	He wanted to learn about it;
00:08:56	But here he was
00:08:58	And at that rate, Philadelphia
00:09:00	- The money people
00:09:05	did not have a sense
00:09:08	Barnes did.
00:09:10	(accordion music)
00:09:12	- Well, he'd started going
00:09:15	you know, trying to understand
00:09:16	what was happening
00:09:19	- Barnes's taste
00:09:21	in about two or three years,
00:09:25	that Renoir and Cezanne
00:09:26	are the pillars
00:09:29	He also then sees
00:09:32	are the continuators
00:09:35	- Barnes was way ahead
00:09:38	He was ahead of his time
00:09:40	culturally, politically.
00:09:42	He collected some
00:09:44	in the history of the world
00:09:46	the American art establishment
00:09:49	as inaccessible
00:09:52	and of little value.
00:09:53	- Just think,
00:09:55	the Museum of Modern Art
00:09:58	The Philadelphia Museum of Art
00:10:00	These were his competitors.
00:10:02	The Met had been around
00:10:05	It's this extraordinary moment
00:10:09	to buy some
00:10:11	before museums were competing,
00:10:13	before MOMA and Philadelphia
00:10:16	were actually saying,
00:10:17	"We have to buy these artists
00:10:19	- There's always been
00:10:22	about the Barnes Collection,
00:10:25	truly phenomenal collection
00:10:28	that the museum world
00:10:36	(car horns honking)
00:10:45	- We're at Sotheby's
00:10:48	for their big lmpressionist
00:10:51	(background conversation)
00:10:57	I mean,
00:10:59	which is a nice picture
00:11:05	This is not a great Van Gogh.
00:11:07	They're estimating $35 million.
00:11:10	I suspect in this market,
00:11:12	that-- that-- that-- it will go
00:11:16	It's not Barnes-worthy.
00:11:17	He would have not bought
00:11:19	but it is a Van Gogh.
00:11:27	Barnes wouldn't even look
00:11:29	Some pictures are unattractive
00:11:33	Some paintings are attractive
00:11:36	This is both unattractive
00:11:39	I mean, the one last night
00:11:41	was a much better painting.
00:11:43	That was a good Matisse.
00:11:46	I don't think it was good enough
00:11:48	And the Cezanne here is...
00:11:53	not even a shadow
00:11:57	This is estimated
00:12:02	I couldn't even hang it
00:12:03	as The Card PIayers.
00:12:05	But The Card PIayers
00:12:08	certainly any
00:12:12	I mean, how much money
00:12:15	The Getty couldn't afford it.
00:12:17	You'd need some sort
00:12:23	- Now 0011.
00:12:28	- You're gonna see prices
00:12:31	that will make your head spin.
00:12:35	- Let's start the bidding
00:12:36	at $20 million here,
00:12:39	- For things
00:12:42	Iet alone important.
00:12:43	- $35 million and fair warning.
00:12:45	Last chance.
00:12:46	Selling then for $35 million.
00:12:52	(gavel clacks)
00:12:55	- There certainly aren't
00:12:58	Iike the Barnes anywhere anymore
00:13:02	(soft piano music)
00:13:05	- What is a collection
00:13:08	- Oh.
00:13:13	(sighs)
00:13:18	Look, there's some things
00:13:24	one can't even begin
00:13:26	I-- I-- I could go through
00:13:29	painting by painting,
00:13:33	and a lot of them
00:13:34	some kind of a number.
00:13:36	But some things in there,
00:13:38	nobody could figure out.
00:13:41	The Matisse La Danse,
00:13:42	nobody could figure out
00:13:44	We don't know.
00:13:46	There's been nothing like it.
00:13:47	There never will be.
00:13:52	(sighs)
00:13:53	It's worth billions.
00:13:55	I have no idea what it's worth.
00:13:57	The Cezanne Card PIayers,
00:13:59	$500 million,
00:14:02	I mean, we're talking
00:14:07	(Music continues)
00:14:15	- The initial exhibition
00:14:17	took place in 1923
00:14:19	in Philadelphia when Barnes
00:14:22	at the Academy of Fine Arts.
00:14:26	Barnes had great faith
00:14:31	and his eye.
00:14:34	He knew that he was
00:14:37	of collecting the greatest
00:14:43	- He was passionate about
00:14:47	And there was a passion
00:14:50	(dramatic music)
00:14:53	(Music continues)
00:14:58	- The art critics,
00:15:00	The Philadelphia Inquirer
00:15:02	they just trashed
00:15:03	They said,
00:15:05	this is scribbling."
00:15:07	- It was greeted
00:15:10	from the traditional stuffy
00:15:16	And Barnes was dismayed.
00:15:17	I mean, he was just dismayed
00:15:22	who thought of themselves
00:15:26	just denounce him.
00:15:28	I think it must have had
00:15:29	in his dealings with them
00:15:34	- He determined
00:15:37	would they get their hands
00:15:40	(ominous music)
00:15:43	(Music continues)
00:15:53	- A principal reason
00:15:55	his foundation where he did
00:15:59	the downtown interests
00:16:02	that ruled the city,
00:16:04	from the newspaper
00:16:09	- He talks about
00:16:11	rich people using artwork
00:16:14	He didn't want that to happen
00:16:16	The other robber barons
00:16:18	to themselves.
00:16:20	Barnes wanted to make something
00:16:22	so he used his collection
00:16:27	He really wanted to be taken
00:16:30	and that this project
00:16:36	as a real new step
00:16:40	Dewey recognized that.
00:16:42	He was a very
00:16:45	and one of America's
00:16:47	to philosophy and education,
00:16:49	really embracing
00:16:52	- If you've spent time
00:16:54	and you've gotten a sense
00:16:57	you know that it's a very,
00:17:00	And it's not important
00:17:01	great, great paintings.
00:17:03	The entire thing
00:17:06	of a set of ideas.
00:17:08	Dr. Barnes created this
00:17:11	in the midst of
00:17:16	Barnes there assembled
00:17:19	from all over the world
00:17:21	and he put them
00:17:23	And he arranged it
00:17:25	so that the art speaks
00:17:29	It says something
00:17:32	It says we're the same.
00:17:34	It says
00:17:35	are no different
00:17:37	and Asians.
00:17:39	We experience life in,
00:17:42	We show it in different ways,
00:17:43	but the basic fundamental
00:17:48	This is one of the many things
00:17:50	that they say
00:17:52	that makes so much sense--
00:17:53	that art isn't something
00:17:55	It is life.
00:17:57	(birds chirping)
00:17:58	(rock music)
00:18:01	(Music continues)
00:18:02	- Years later, the artwork
00:18:05	recognized as important.
00:18:08	Everyone was so offended
00:18:10	because it was closed
00:18:11	"How dare you?
00:18:13	I've shown up
00:18:15	Well, fuck it.
00:18:17	Barnes didn't really care
00:18:19	He had a school to run,
00:18:21	(Music continues)
00:18:27	- The hatred of Barnes
00:18:32	- People didn't like him
00:18:38	- He didn't have much regard
00:18:41	for Philadelphia society.
00:18:48	- Oh, Dr. Barnes was
00:18:51	towards his contemporaries.
00:18:56	- He liked to fight,
00:18:58	he would pick on anybody small.
00:19:01	It was always...
00:19:03	- Somebody would write,
00:19:04	"I'm the art critic
00:19:06	Can I come in
00:19:08	And Albert Barnes would write,
00:19:10	and he'd have his dog
00:19:11	But if you said,
00:19:14	and I want to come see
00:19:16	he'd say, "Okay, come in."
00:19:18	(Music continues)
00:19:20	- Barnes never forgot,
00:19:23	that he'd grown up a poor boy
00:19:26	in turn-of-the-century
00:19:30	and this set him at odds
00:19:33	not only with the arts
00:19:36	but with
00:19:37	He was a New Deal
00:19:41	This particularly put him
00:19:44	with the family that owned
00:19:48	which was clubbable
00:19:53	(Music continues)
00:19:55	(man whistling)
00:19:57	The Inquirer was the organ
00:20:01	and his son,
00:20:05	Here is a bona fide plutocrat,
00:20:08	a right-wing Nixonian,
00:20:12	ambassador to the court
00:20:14	It's like gone back
00:20:16	and these ridiculous costumes.
00:20:19	How more ludicrously right-wing
00:20:22	This man who liked
00:20:24	in the middle of the night
00:20:27	- Barnes and he were always
00:20:30	The Philadelphia Inquirer was
00:20:34	for not opening it
00:20:36	not doing the things
00:20:38	but he did the things
00:20:40	And it was his art.
00:20:41	Why couldn't he do
00:20:42	- One of the problems
00:20:44	his father
00:20:47	He went to jail
00:20:49	which is what all gangsters
00:20:50	unless you can really
00:20:52	with the knife in their hand.
00:20:53	- In the end, the feds agreed
00:20:55	to give his young
00:20:59	a pass if the old man
00:21:02	copped out and took
00:21:04	So his father was sent off
00:21:06	and was only released as
00:21:09	And this is something
00:21:11	never forgave
00:21:16	It was often said
00:21:17	that Albert Barnes realized
00:21:21	from Walter Annenberg
00:21:23	because he said nasty cracks
00:21:26	and his income tax problems
00:21:29	and, you know, the racetracks
00:21:33	But there's no doubt
00:21:37	who for many, many years
00:21:40	of Philadelphia journalism,
00:21:41	hated Albert Barnes
00:21:48	(up-tempo string music)
00:21:51	(Music continues)
00:21:55	Barnes was a very,
00:21:59	and one of the things
00:22:02	was the value of a good lawyer,
00:22:05	and Barnes's lawyer is a man
00:22:08	Johnson was a great patron
00:22:10	whose art today is one
00:22:13	of the
00:22:15	Now, this, however,
00:22:18	had wished it to be,
00:22:20	John Johnson intended his art
00:22:23	as a gallery in his home
00:22:27	on Broad Street
00:22:30	- Poor Johnson had said,
00:22:32	"Look, I'm gonna give you
00:22:34	"Part of the bargain is,
00:22:36	keep my end up of it."
00:22:39	- Well, after his death,
00:22:43	and the paintings were moved
00:22:44	into the Philadelphia Museum
00:22:45	where they have been
00:22:49	Johnson's art was, in effect,
00:22:52	by the Philadelphia--
00:22:55	- They argued that the building
00:22:57	and that the paintings
00:22:59	and that they'd be
00:23:01	in this new building.
00:23:03	"Let's get the paintings
00:23:04	and bring 'em up
00:23:08	So, yeah, he got screwed.
00:23:09	- Barnes was so appalled
00:23:15	that he became determined
00:23:16	that the political
00:23:20	of Philadelphia
00:23:23	(dramatic music)
00:23:27	Well, Barnes, as he always did,
00:23:28	he turned to the best lawyers
00:23:30	to draw up his will.
00:23:31	The goal had always been
00:23:36	as a freestanding
00:23:40	not to fold the Barnes
00:23:41	into the Philadelphia Museum
00:23:43	and certainly not to turn
00:23:46	into an art museum.
00:23:48	And it was to be housed
00:23:51	that Dr. Barnes had put up.
00:23:54	- So he wrote this very sort of
00:23:57	He said,
00:24:00	"as an educational institution.
00:24:02	"lt can be open two or three
00:24:07	"but four or five days a week,
00:24:08	"it shall be
00:24:10	"to students and educators
00:24:14	"The collection
00:24:17	"The collection
00:24:22	"The democratic nature
00:24:24	shall be preserved
00:24:28	- He tried to create
00:24:29	that was proof against
00:24:33	If it remains
00:24:36	if it simply hangs on a wall,
00:24:38	if it can never be lent,
00:24:39	if it can never be sold,
00:24:41	the commercial exploitation
00:24:44	- He sought to preserve this
00:24:47	so maybe naively,
00:24:50	But anyone who ever writes
00:24:52	thinks it's gonna go on forever.
00:25:01	(dramatic music)
00:25:04	- And so it was--
00:25:10	traveling between
00:25:13	and his home in Merion,
00:25:17	when he was instantly killed.
00:25:20	(Music continues)
00:25:26	- It was-- it was a shock.
00:25:29	(Music continues)
00:25:36	And I thought,
00:25:37	"l only hope we can keep
00:25:41	of Dr. Barnes's ideas alive."
00:25:47	- The question then arises,
00:25:51	what did Albert Barnes intend
00:25:56	of the great
00:26:08	(somber music)
00:26:11	- So then he died in 1951,
00:26:14	and here we have
00:26:17	one of the great characters
00:26:22	in the art world,
00:26:23	who originally came
00:26:26	to give French classes.
00:26:28	And she becomes
00:26:33	his great supporter,
00:26:36	his disciple,
00:26:38	and she's in charge
00:26:42	- After Dr. Barnes died,
00:26:45	and she ran it
00:26:50	- She was just passionate
00:26:52	She poured her life into this.
00:26:56	- Well, hell, it wasn't a job
00:26:59	and those of us
00:27:00	it was our life.
00:27:01	We were painters.
00:27:04	It wasn't just a job.
00:27:06	- Through the Barnes teaching
00:27:10	so many hundreds of people
00:27:14	"lt has changed my life."
00:27:17	- All I can say is,
00:27:18	the people who took the course
00:27:20	And that, to me,
00:27:22	was a satisfactory reason
00:27:24	to perpetuate
00:27:27	which was a school,
00:27:29	that's very clear
00:27:32	and that the paintings
00:27:33	for didactic purposes,
00:27:36	and not merely because
00:27:39	of people walking into a museum.
00:27:44	- Well, almost immediately after
00:27:48	the foundation found itself
00:27:51	by none other than
00:27:54	publisher, multimillionaire
00:27:58	- Annenberg starts
00:27:59	"Oh, the Barnes Foundation
00:28:01	They're violating their tax
00:28:05	- Annenberg had all the money
00:28:06	and he was determined
00:28:10	and he didn't dare try
00:28:12	when the old man
00:28:13	and was a tough nut
00:28:16	(Music continues)
00:28:25	- When they opened up
00:28:27	I never knew it was
00:28:28	The day they opened it,
00:28:30	"They're letting
00:28:33	I think she was in tears.
00:28:37	Well, these people crowded in.
00:28:38	I mean, one guy was out
00:28:41	He said he saw enough
00:28:45	And that was--
00:28:50	- Annenberg is seen
00:28:52	who got the attorney general
00:28:54	to make the Barnes Foundation
00:28:57	at times that it wasn't supposed
00:28:59	And so Annenberg is seen
00:29:01	the first little crack
00:29:06	- Once everybody's dead,
00:29:10	and nobody cares
00:29:12	That's why it was important
00:29:15	that it's a school.
00:29:17	- Well, I think he always
00:29:20	that the artwork would become
00:29:22	that it would overpower
00:29:28	- You know, people see art,
00:29:30	Paintings, money, tourism.
00:29:33	It's become just the norm
00:29:36	for blockbuster shows,
00:29:39	move it around, you know,
00:29:43	and there is all this great art
00:29:45	that the museum world
00:29:50	- We had requests from various
00:29:54	"Would you please lend us
00:29:56	"We'll pay all the costs,
00:29:58	and we'll send armed guards
00:30:01	And de Mazia said,
00:30:04	the paintings will never be
00:30:06	absolutely no, never.
00:30:08	De Mazia was considered to be
00:30:14	of Dr. Barnes and his method,
00:30:17	and everything went according
00:30:21	- The atmosphere
00:30:23	"It's for the classes;
00:30:25	Everything about it
00:30:27	De Mazia was
00:30:31	It was a handmade thing
00:30:35	as long as she was alive.
00:30:41	(dramatic music)
00:30:44	(Music continues)
00:30:47	- When she died, she was,
00:30:51	She died on a Friday
00:30:57	(chuckles)
00:30:58	- Well, everything changed
00:31:02	and with her death,
00:31:06	whose hands would inherit
00:31:09	Barnes was married,
00:31:15	so no doubt
00:31:18	no doubt the University
00:31:22	that they would inherit,
00:31:23	control of the foundation.
00:31:25	However, Barnes kept
00:31:27	of this, there's no question--
00:31:29	but he just didn't
00:31:32	- Albert Barnes created the
00:31:35	with the power
00:31:39	After the last of the trustees
00:31:44	ultimately they elect de Mazia.
00:31:46	Now, the rub then became,
00:31:52	- As everyone knows,
00:31:56	He had his delicate ego
00:32:00	by the Philadelphia
00:32:02	and he had a long
00:32:06	- Ultimately, his will left
00:32:09	of the great Barnes art
00:32:16	- When he got Lincoln there,
00:32:18	it was just the farthest
00:32:22	in the social scene
00:32:24	- Lincoln was, if you were
00:32:28	one of the places to go to get
00:32:32	at a time when there was
00:32:34	- My father was president
00:32:37	and he befriended
00:32:40	and from that friendship
00:32:42	between Lincoln University
00:32:46	Barnes was one of those
00:32:49	who was openhearted
00:32:51	You know, in his factory, he had
00:32:54	when almost no
00:32:56	in the whole of the country
00:32:58	And he thought,
00:33:00	"How can I stick my finger
00:33:02	"of the Philadelphia
00:33:04	"I'll show 'em.
00:33:05	I'll give it to this little
00:33:07	- Whether, you know,
00:33:10	number one,
00:33:12	on the Philadelphia
00:33:15	I think he said,
00:33:16	"Boy, you know,
00:33:18	"They're not part
00:33:20	that I hate so much."
00:33:26	- Fast forward to 1990,
00:33:28	Lincoln is this state school
00:33:30	that doesn't get
00:33:32	that can't raise enough money,
00:33:34	and if you're a trustee
00:33:35	why wouldn't you use
00:33:37	to raise some money
00:33:40	- Franklin Williams,
00:33:43	was made the president
00:33:47	and he really understood,
00:33:50	as probably most of
00:33:54	that he and Lincoln
00:33:58	of the world's greatest
00:33:59	post-lmpressionist
00:34:01	(bluesy rock music)
00:34:04	(Music continues)
00:34:06	- Franklin Williams established
00:34:08	of notable people
00:34:12	in the art world.
00:34:13	- Franklin Williams wanted
00:34:16	so I went back,
00:34:18	with all museum people
00:34:22	- Lincoln University felt
00:34:24	it really should look
00:34:25	to help it figure out
00:34:28	which is a perfectly reasonable
00:34:32	- It would be a resource
00:34:36	understanding the terms
00:34:38	of Barnes' trust,
00:34:40	and it would have just made
00:34:43	It would be...
00:34:44	It's indescribable
00:34:46	(Music continues)
00:34:50	- Also on the Lincoln board
00:34:54	was this incredibly
00:34:58	named Richard H. Glanton.
00:35:02	He has designs on being
00:35:05	maybe even senator.
00:35:07	His ambitions know no limit.
00:35:08	Glanton has already been
00:35:11	that he's going to run
00:35:13	But as I say, between Glanton
00:35:16	and perhaps many
00:35:19	is Franklin Williams.
00:35:21	What no one could have
00:35:22	that almost immediately
00:35:25	president
00:35:26	diplomat/lawyer
00:35:28	discovers he has a very virulent
00:35:30	and within the year is dead.
00:35:32	(Music continues)
00:35:44	- When I came there,
00:35:48	this dummy is fresh meat
00:35:51	and he's just
00:35:53	but he doesn't know anything
00:35:55	so we'll rule while he reigns.
00:36:00	And...
00:36:01	I was not born that way.
00:36:05	- I got a call
00:36:08	who said,
00:36:12	"at the Union League
00:36:14	and pick your brain? "
00:36:15	So I said, "Sure, why not? "
00:36:17	He said, "I've got big plans
00:36:20	We're gonna make
00:36:21	And I said,
00:36:24	"We've got the original
00:36:26	"It's yielding a couple
00:36:28	"more than we need
00:36:30	What's the point
00:36:32	And Glanton says,
00:36:34	"I'm gonna put this whole thing
00:36:36	"I'm gonna do whatever it takes
00:36:37	"to build up as much money
00:36:39	"Don't worry, Dave.
00:36:40	I've got it all figured out."
00:36:42	"Oh, okay.
00:36:43	"Well, you know, if that's
00:36:46	"You're a majority
00:36:47	But thanks for lunch."
00:36:51	- Mrs. de Mazia,
00:36:53	really did the best she could,
00:36:55	but for 50 years
00:36:58	or 40 years,
00:37:01	The building had
00:37:04	All of the windows
00:37:07	The HVAC system didn't work.
00:37:11	- We've got
00:37:13	We've got, you know--
00:37:17	all of which, frankly,
00:37:22	seemed perfectly reasonable.
00:37:24	At the time, when we were
00:37:27	it was very clear
00:37:29	a plan to try
00:37:31	'cause everybody in the world
00:37:33	the Barnes Foundation.
00:37:34	So that was what we suggested,
00:37:37	and that's precisely
00:37:39	did not want to do.
00:37:41	They were about to figure out
00:37:44	that was clearly illegal
00:37:47	which is what they did.
00:37:48	(Music continues)
00:37:51	- Richard loved being president
00:37:53	and he loved all
00:37:57	hobnobbing with the rich
00:37:59	including multimillionaire
00:38:04	- So I called Walter
00:38:08	"I'd like to just talk to you
00:38:12	and he said, "Great."
00:38:15	- Walter Annenberg,
00:38:19	was also an art collector.
00:38:21	First-rate collection
00:38:22	but certainly not
00:38:25	certainly not
00:38:28	- In the last several months,
00:38:32	after me to sell
00:38:34	My only response has been,
00:38:38	"You're discussing members
00:38:41	and I'm hardly about to sell
00:38:48	- Couldn't be more ironic.
00:38:51	Glanton and Walter Annenberg
00:38:55	of selling Barnes' art.
00:38:58	- I said,
00:39:00	"to restore the gallery
00:39:02	"to ensure
00:39:04	of the collection,"
00:39:05	and the way that I would do this
00:39:08	a number of paintings
00:39:10	to cover the cost
00:39:14	And he immediately said,
00:39:19	- You know, Glanton
00:39:21	what he wanted to do.
00:39:22	He made it totally accessible
00:39:24	and he was gonna rip it apart
00:39:25	Up until then,
00:39:26	Annenberg was coming in
00:39:30	Now what you had was trustees,
00:39:33	from the inside.
00:39:35	The Barnes board itself
00:39:36	"Oh, we're in dire
00:39:38	"We need to undo
00:39:42	Let us sell the collection."
00:39:46	- I have nothing against
00:39:48	If there's no legal reason
00:39:50	Dr. Barnes did not say
00:39:53	and therefore
00:39:55	as far as I'm concerned.
00:39:57	- We were outraged.
00:39:59	Glanton didn't care.
00:40:00	And then when we objected,
00:40:04	he fired the whole
00:40:07	- The response of the art world
00:40:11	There was a huge uproar.
00:40:13	Anybody with any familiarity
00:40:16	knew that it was absolutely
00:40:20	with any knowledge
00:40:22	would do.
00:40:25	- So even though there was
00:40:28	didn't happen,
00:40:29	because the museum community
00:40:33	- Having now failed to convince
00:40:35	or his partners
00:40:38	to allow him to sell art
00:40:41	or deaccession art,
00:40:42	he now comes up
00:40:48	(frantic string music)
00:40:50	- When Richard started
00:40:53	that the foundation
00:40:55	and this is where he started
00:40:58	the fiasco plan
00:41:00	that he would sell
00:41:03	in order to justify that,
00:41:05	"Come on, I'll show you."
00:41:06	And so I took a tour with him
00:41:10	of the foundation
00:41:14	- And so day after day,
00:41:16	usually with Richard Glanton
00:41:19	taking Lucinda Fleeson,
00:41:22	through the boiler room
00:41:24	readers of The Inquirer
00:41:27	of the poor old
00:41:29	and it was gonna take
00:41:31	millions of dollars
00:41:33	Otherwise
00:41:34	they were just gonna
00:41:36	- We're working on fear here,
00:41:37	Weapons of mass destruction,
00:41:39	It's funny, but it sounds like
00:41:41	"The building's falling apart."
00:41:44	That was the beginning
00:41:46	of why we can undermine
00:41:50	(rock music)
00:41:52	- Thank you to Lucinda Fleeson
00:41:55	he has this marvelous excuse
00:41:57	that the building is
00:42:01	that it's going to have to be
00:42:03	for a couple of years.
00:42:04	"Let me take the Barnes art
00:42:07	and charge other museums
00:42:10	- As a lawyer, there is
00:42:13	that provided
00:42:16	It's called cy pres.
00:42:18	You can change a provision
00:42:20	to carry out
00:42:22	to the least extent possible.
00:42:24	- If you can't do exactly
00:42:26	there's the term--
00:42:29	cy pres
00:42:30	as near as possible
00:42:33	And how in the world
00:42:35	that this is near as possible--
00:42:37	This is exactly
00:42:38	Every...every ounce of it
00:42:42	- I was told by everybody
00:42:44	it wouldn't be done.
00:42:45	Nobody will do it.
00:42:47	I said, "Well...
00:42:48	We're gonna do this."
00:42:50	- # You do what you have to #
00:42:52	# And not what you're told #
00:42:54	(Music continues)
00:43:10	- Given the quality
00:43:14	it created headlines
00:43:17	It created crowds
00:43:18	and it created money
00:43:21	And all of that was like
00:43:25	until the fire was raging.
00:43:27	(Music continues)
00:43:30	- Everywhere the art went,
00:43:32	and everywhere
00:43:34	he was honored.
00:43:35	- I was treated
00:43:39	in Paris and Toronto
00:43:41	Dinner, seated at the table
00:43:44	An invitation for her
00:43:47	Letters from her.
00:43:48	It was literally unbelievable.
00:43:52	I think it was
00:43:54	in the history
00:43:56	(Music continues)
00:44:01	(music fades)
00:44:05	(piano and orchestral music)
00:44:07	- The Barnes art now returned
00:44:12	well, I was gonna say
00:44:15	that you could imagine,
00:44:17	but I think that was saved
00:44:19	(Music continues)
00:44:22	A showing at the
00:44:25	the archenemy,
00:44:30	reveling in their possession,
00:44:34	of the Barnes art.
00:44:36	- This was the great slap
00:44:38	"Well, we have to show
00:44:40	in Philadelphia too."
00:44:42	Well, why?
00:44:45	Basically, it raised a lot
00:44:47	They had a big Barnes show
00:44:49	and they made a lot of money
00:44:51	- Everybody involved in this
00:44:55	The only person
00:44:58	was Albert Barnes.
00:45:00	Everyone had abandoned him.
00:45:17	- You know, the paintings
00:45:19	and Glanton wants to have
00:45:22	Glanton's using it
00:45:24	Barnes didn't want it
00:45:25	which was as a sort
00:45:29	I mean, we're talking all
00:45:31	wealthy people
00:45:32	with their Rollses
00:45:34	came to the party,
00:45:36	and they're just all up and down
00:45:39	- The Philadelphia swells
00:45:43	And once again, Richard Glanton
00:45:48	of the Barnes art.
00:45:50	But what he didn't reckon with
00:45:54	- Chaos.
00:45:55	It was absolute chaos.
00:45:57	Nothing had ever happened
00:45:58	in the 18 years
00:45:59	Was this the first of many?
00:46:02	Was this-- our neighborhood
00:46:05	(Music continues)
00:46:07	- The Barnes Foundation
00:46:09	has been here
00:46:10	Iived in perfect harmony
00:46:11	with the neighborhood
00:46:14	and all of a sudden, it becomes
00:46:19	- This is from Quebec also.
00:46:21	This is three buses today
00:46:24	- Our neighborhood
00:46:26	top to bottom.
00:46:27	Five days a week,
00:46:29	were coming and parking
00:46:34	and parking in my driveway.
00:46:36	I mean, it happened
00:46:38	- My kitchen sink
00:46:40	and I guess I spend
00:46:42	So every time I saw a bus,
00:46:44	I would run out with the camera
00:46:47	I don't know
00:46:48	but that's how I feel.
00:46:50	Richard Glanton referred to me
00:46:52	that he was being harassed
00:46:55	That was me--
00:46:56	I felt very powerful
00:46:57	- I'd brought the Barnes
00:47:02	and opened it up,
00:47:03	and it's weird
00:47:06	refused to accept that.
00:47:11	- We went to the township
00:47:13	to see about fast-tracking
00:47:16	to build a parking lot.
00:47:18	And Richard very much wanted
00:47:19	this parking lot fast-tracked
00:47:22	- You're operating
00:47:23	in a residential neighborhood.
00:47:25	And putting a parking lot in,
00:47:27	would have made it easier
00:47:29	a commercial museum
00:47:31	in a residential neighborhood.
00:47:33	- Questions?
00:47:34	- We went
00:47:35	All the neighbors went
00:47:37	and people made speeches
00:47:39	I got up,
00:47:41	I said, I understood now
00:47:44	And a carpetbagger
00:47:45	from another jurisdiction,
00:47:47	and, in fact, they call judges
00:47:49	when they do that,
00:47:50	and referring to Mr. Glanton
00:47:53	I referred to Mr. Glanton
00:47:55	and that was the end of it.
00:47:59	- The township said
00:48:01	a parking lot.
00:48:03	Richard was not happy
00:48:06	- It wasn't about the cars
00:48:09	It was about something else.
00:48:10	It was about being hostile.
00:48:12	I don't know why.
00:48:14	You know, I just said,
00:48:16	I mean, I'm just gonna bring
00:48:18	(frantic instrumental music)
00:48:20	- Dr. Herman brought me
00:48:22	and he said,
00:48:23	but I need you to sit down."
00:48:26	I had no idea
00:48:28	Because of my use of the word
00:48:31	and "his people,"
00:48:33	they used those two phrases
00:48:36	for a civil rights action.
00:48:39	- Glanton ordered
00:48:43	to begin preparations
00:48:45	against the Lower Merion
00:48:48	and the neighbors
00:48:49	under the federal
00:48:55	- They accused us of conspiracy
00:48:58	to deprive them
00:49:00	but motivated
00:49:01	- They compared not only me,
00:49:03	but they compared others of us
00:49:05	They showed pictures of people
00:49:10	and associated that
00:49:13	And I'm thinking,
00:49:16	I got up,
00:49:18	that I have buses
00:49:20	and I can't get out
00:49:21	What am I doing here
00:49:23	in the middle
00:49:24	being called Hitler? "
00:49:30	- All over Philadelphia
00:49:32	in law firms
00:49:35	the legal fees
00:49:38	And the Barnes's already skimpy
00:49:43	It was just being drained.
00:49:45	- They get all this money spent
00:49:47	to Paris and Tokyo
00:49:51	and made a huge pile of money,
00:49:54	I don't want to say
00:49:56	I should say something
00:49:57	You can cut that one out, okay?
00:50:01	- Richard Glanton thought
00:50:04	and say, "We drop out.
00:50:05	We're dropping out."
00:50:06	He just picked
00:50:08	- Eventually, the entire case
00:50:11	Judge Brody said there was not
00:50:15	in any of the evidence
00:50:19	- In this particular situation,
00:50:20	there's not ever a comment made
00:50:24	preceded by the word "hostile."
00:50:26	- Their PR firm has maintained
00:50:29	The PR firm has maintained
00:50:32	I mean, if that's what people
00:50:34	that we harassed them
00:50:35	and that we are devious,
00:50:37	we've given up trying.
00:50:39	- Over a zoning board issue
00:50:41	was the Ku Klux Klan Act
00:50:46	And the mischief that followed
00:50:52	I mean, thus the whole story
00:50:56	of a 52-car parking lot.
00:51:03	The president
00:51:05	is desperate to get Glanton
00:51:07	and in her fury
00:51:10	over the dismissal
00:51:15	she prepared a draft letter
00:51:18	to the trustees
00:51:20	suggesting that it was time
00:51:28	- People can have
00:51:30	They're entitled to them.
00:51:31	But, uh...my story is
00:51:35	that it was a second rebirth
00:51:37	during my tenure as president.
00:51:41	I tried to do something
00:51:43	that was different,
00:51:46	And I knew I had no time
00:51:50	What was that dog's name?
00:51:52	Cerebus, who guards
00:51:54	Was after me.
00:51:57	I had been approached about
00:52:00	to the Philadelphia
00:52:03	on at least two occasions,
00:52:05	and I was approached
00:52:07	to some other institutions
00:52:10	But I had no intention
00:52:13	while somebody else ruled,
00:52:14	and that was, in their view,
00:52:18	They laid the groundwork,
00:52:21	saying the money
00:52:23	ruined the Barnes,
00:52:25	It had more money than it had
00:52:28	and a new building.
00:52:30	- Curiously, Glanton said to me
00:52:35	that-- and this is
00:52:37	but that he was the bulwark
00:52:41	stealing the Barnes.
00:52:44	And in a perverse way,
00:52:46	I think Richard Glanton was
00:52:49	- I was just like,
00:52:53	"Go do your master's bidding.
00:52:57	Run it into the ground,
00:52:59	And literally, that's what
00:53:02	I said, "They're gonna run it
00:53:08	- I'm sure I saw the letter.
00:53:11	I'm not gonna say
00:53:13	were accurate, per se.
00:53:17	But once he left,
00:53:19	there was not
00:53:23	with those who remained.
00:53:26	And in the long run, I thought
00:53:28	to drag the Barnes down.
00:53:31	(dramatic music)
00:53:34	(Music continues)
00:53:42	(soft piano music)
00:53:45	- And so there we were,
00:53:48	minus Richard Glanton,
00:53:50	with the Barnes's
00:53:53	reduced to virtually nothing.
00:53:55	- Barnes Foundation,
00:53:58	without an effective
00:54:00	sitting in this building
00:54:04	So these forces began
00:54:07	and work towards something
00:54:09	that had absolutely nothing
00:54:15	with the agreement
00:54:18	and the state of Pennsylvania
00:54:23	All of that was sort of
00:54:25	while politicians
00:54:30	and cultural mavens
00:54:49	- The Barnes was given
00:54:51	by the foundations
00:54:54	so that they could claim
00:54:56	to help
00:54:57	But that was never,
00:55:00	- Foundations are
00:55:03	We're used to hearing about
00:55:05	with for-profit corporations.
00:55:07	But this was a non-profit
00:55:10	And the first thing
00:55:12	is remake the board of trustees
00:55:13	so you have a compliant board
00:55:17	- In the period after
00:55:21	the foundation was
00:55:24	It was still controlled
00:55:26	Four of the five board members
00:55:30	The president
00:55:32	put on the board by Lincoln
00:55:38	- Watson was very
00:55:41	a professional
00:55:45	and he was the chairman
00:55:48	the Tourist Bureau.
00:55:51	- In the midst of that
00:55:53	steps up
00:55:58	They were going
00:56:00	I think it was $150 million.
00:56:02	From the very beginning,
00:56:04	Pew's thought was,
00:56:05	"Well, we're gonna give
00:56:07	We're gonna get something
00:56:08	We want some control."
00:56:09	- It was pretty clear to me
00:56:11	they weren't just gonna give
00:56:15	without getting control
00:56:20	- Well, if you're
00:56:21	your duty was to maintain
00:56:23	between Barnes and Lincoln,
00:56:24	because that was part
00:56:27	I mean, what's Lincoln have
00:56:31	He makes his living
00:56:34	and people who want this thing
00:56:36	Watson went ahead
00:56:39	that cut Lincoln out.
00:56:42	The only way for a Pew
00:56:45	to get control,
00:56:47	to be able
00:56:49	was for the indenture
00:56:52	for them to go to court
00:56:54	that Barnes laid down.
00:56:56	Lincoln didn't have a clue.
00:56:58	Watson and these
00:57:00	had a plan to basically
00:57:03	Right?
00:57:07	They got an attorney and tried
00:57:11	- There were enough people
00:57:13	that the plan was starting
00:57:18	where more aggressive tactics
00:57:25	- Ed Rendell, the governor
00:57:27	starts to put pressure
00:57:30	He's the governor.
00:57:31	He controls the purse strings
00:57:32	of this state-affiliated
00:57:35	He said,
00:57:36	"Lincoln, you could be in,
00:57:39	"if you go along
00:57:40	What have you gotten
00:57:43	Along with Rendell,
00:57:46	that he's gonna help pressure
00:57:49	And the thing that he has
00:57:52	"You get nothing, Lincoln,
00:57:57	- I don't know that we were
00:57:59	"We can take this away
00:58:01	because that would take
00:58:04	but I had to explain
00:58:06	you know, maybe
00:58:08	would have to take some action
00:58:12	that might have to change
00:58:15	And whether I said that directly
00:58:18	I think they finally got
00:58:20	And when they say--
00:58:24	It was portrayed
00:58:25	and the governor
00:58:28	The governor had the money.
00:58:31	And the governor had some money
00:58:34	so that automatically made
00:58:43	There was some money proposed
00:58:48	some of the perhaps
00:58:50	that they might have.
00:58:51	- As I recall,
00:58:53	And I said, "You tell me
00:58:55	the $40 million on."
00:59:01	- That's not a whole lot
00:59:03	but it's a whole lot of money
00:59:08	I think that was part
00:59:10	of Lincoln letting go.
00:59:13	- They weren't blackmailed
00:59:17	If you ask the board,
00:59:18	I made it abundantly clear
00:59:22	that they were getting
00:59:34	- They pressured the shit
00:59:37	And in the end, they caved.
00:59:41	What the Philadelphia
00:59:44	is what takes place all the time
00:59:47	which is to take over the board
00:59:49	by adding new positions
00:59:53	You don't go in
00:59:54	that are there.
00:59:56	You just put ten more on
00:59:57	so that those five
01:00:02	Watson negotiated a deal
01:00:06	Lincoln's participation
01:00:09	of the foundation.
01:00:10	Yeah, he betrayed Barnes,
01:00:15	But, you know, to the extent
01:00:17	on the board thinking,
01:00:18	you're going to keep Lincoln
01:00:20	he betrayed them too.
01:00:29	- They sold Lincoln University
01:00:33	They sold it down the creek.
01:00:34	And they had no right
01:00:39	- And the Philadelphia
01:00:42	who he determined
01:00:44	that never would they get
01:00:47	now have it in their hands.
01:00:55	- From the public side,
01:00:56	from what, you know, me
01:00:57	and every other
01:01:00	the first thing we got was,
01:01:01	"Oh, all these foundations
01:01:04	the Barnes Foundation."
01:01:06	- The foundation said,
01:01:08	they're there to serve
01:01:09	I mean, they get--
01:01:11	So these places,
01:01:12	whether it's Pew or Annenberg
01:01:14	they have
01:01:18	- The responsibility should be,
01:01:20	"How do you keep this going? "
01:01:22	Not, "How do you exploit this? "
01:01:23	"How do you preserve it? "
01:01:25	(dramatic music)
01:01:28	They didn't say
01:01:32	What was their real goal?
01:01:40	(Music continues)
01:01:45	- From NPR news,
01:01:47	I'm Michele Norris.
01:01:48	- And I'm Robert Siegel.
01:01:49	After two years
01:01:51	one of the world's
01:01:53	of Impressionist art
01:01:57	Today a Pennsylvania
01:01:58	that the Barnes Foundation
01:02:01	from the suburbs
01:02:03	in downtown Philadelphia.
01:02:05	(Music continues)
01:02:07	- Dr. AIbert Barnes
01:02:09	selling pharmaceuticals.
01:02:10	He spent it acquiring paintings
01:02:13	Cezanne, and other masters.
01:02:16	But two years ago,
01:02:17	the foundation
01:02:19	announced it was broke.
01:02:21	Since it's prohibited
01:02:23	hanging in its
01:02:24	it asked for a court's
01:02:27	to a new gallery
01:02:28	where it could draw
01:02:29	and raise more money.
01:02:33	Rebecca Rimel is CEO
01:02:35	one of three philanthropies
01:02:37	that are offering to raise
01:02:39	and $50 million to replenish
01:02:41	the foundation's
01:02:43	- The judge felt,
01:02:44	and of course we have felt
01:02:46	that this is not only honoring
01:02:49	but making sure
01:02:50	will be available
01:02:52	- Barnes officials
01:02:54	but admitted there was
01:02:56	before the paintings Ieave
01:02:58	(birds chirping)
01:03:01	- The foundation became
01:03:04	fiscally impossible to sustain
01:03:09	I think it was three or four
01:03:11	and tried to make the Barnes
01:03:15	in Lower Merion.
01:03:16	They failed.
01:03:17	- There were very strict limits
01:03:19	on the number of people
01:03:21	The community was very hard
01:03:24	those limits were adhered to.
01:03:27	- You've got
01:03:29	being hidden away
01:03:31	Down in Philadelphia,
01:03:33	ten times more people a day
01:03:36	And then it's too small.
01:03:39	The building is too small.
01:03:42	- There is such an emphasis
01:03:44	the artistic ensemble method
01:03:48	that Barnes seemed to favor
01:03:49	of hanging and arranging
01:03:52	So I think people
01:03:53	the kind of experience
01:03:56	- And then you have
01:03:58	of what this would do
01:04:02	to be a great tourism
01:04:05	(alarm clock rings)
01:04:07	- # There's so much to do,
01:04:08	# There's nowhere that
01:04:11	# 'cause Philly's more fun. #
01:04:12	- If you were to add the Barnes
01:04:15	there isn't a couple
01:04:18	in the United States
01:04:20	who's interested
01:04:23	who wouldn't come
01:04:24	for at least a long weekend.
01:04:26	- Visitors here spend
01:04:31	So if you have more visitors,
01:04:35	even looking at it
01:04:37	the Barnes located
01:04:40	would be able to accommodate
01:04:42	four times as many visitors
01:04:45	So you can start doing
01:04:48	- This collection should be
01:04:52	as humanly possible
01:04:53	in the best,
01:04:55	that we can do.
01:04:57	This was always
01:04:59	It wasn't a tough decision
01:05:02	- Book our two-night package
01:05:04	and see why Philly's more fun
01:05:19	- These, I would say,
01:05:22	the key political backers
01:05:23	and financial backers
01:05:27	primarily,
01:05:29	and its director,
01:05:34	in consortium with,
01:05:37	as part of a cabal,
01:05:39	with the Lenfest Foundation--
01:05:42	who has a powerful conflict
01:05:44	as the chairman of the trustees
01:05:47	of the Philadelphia Museum
01:05:49	and supported
01:05:52	and Mayor Street
01:05:54	and Leonore Annenberg,
01:05:55	the widow
01:05:57	who spent much of the last part
01:06:00	trying to gain possession
01:06:03	I'm sure many among them
01:06:06	that what they're doing will be
01:06:09	- We're going to build
01:06:13	for the fabulous
01:06:16	which has no peer
01:06:19	And I'm delighted to be
01:06:22	to make sure this is done
01:06:25	with intelligence, with reason,
01:06:29	(applause)
01:06:34	- My feeling
01:06:37	that it doesn't
01:06:39	saying we need to be
01:06:42	by stealing an art collection
01:06:47	to what I call a "McBarnes"
01:06:50	- This is gonna be a great event
01:06:54	It will-- it will attract
01:06:57	of visitors, I'm told,
01:07:01	The Barnes collection on
01:07:04	would have the economic impact
01:07:07	without the beer.
01:07:09	- A city that has any sense
01:07:13	doesn't talk about becoming
01:07:16	It is what it is.
01:07:18	This is the world class of,
01:07:22	of pep rallies and of building
01:07:26	or a convention center.
01:07:28	That's not what art is about.
01:07:38	- I see the people
01:07:40	the Barnes Foundation
01:07:44	Tourism and, you know,
01:07:48	And the Barnes Foundation
01:07:52	of all this bullshit.
01:07:56	- We're at 20th and the Parkway,
01:07:59	where they intend to build
01:08:01	and they're having some kind
01:08:03	thinking that they're going
01:08:07	So we're here
01:08:08	who are paying for this thing,
01:08:12	that it's a bad idea.
01:08:13	- Attention, everyone.
01:08:15	Welcome, welcome, welcome
01:08:19	Everyone you see around me
01:08:23	are participating
01:08:25	to bring off
01:08:28	since the Second World War.
01:08:31	What you are witnessing here,
01:08:33	Iadies and gentlemen,
01:08:37	- Here's the governor.
01:08:39	(clamoring and chanting)
01:08:40	- You're not a dictator,
01:08:41	and you're not
01:08:43	(chanting and clamoring)
01:08:48	- Dishonorable!
01:08:49	Edward G. Rendell.
01:08:50	(background conversation)
01:08:52	- We're in an economic crisis.
01:08:55	- The world is Iaughing at us.
01:08:57	Break the trust for no reason.
01:09:01	- Please don't break the trust.
01:09:02	- Excuse me, excuse me.
01:09:04	- No integrity.
01:09:05	- Shame on you!
01:09:08	(clamoring)
01:09:09	Shame on you!
01:09:11	Shame on you!
01:09:14	- We're outside the location
01:09:16	where they're planning to put
01:09:18	And they're having some sort
01:09:21	which is very annoying.
01:09:22	Philistines!
01:09:24	And we're just sort of
01:09:27	protesting their party
01:09:29	don't even realize
01:09:31	destroying a man's will,
01:09:34	which half of 'em
01:09:37	Have fun now!
01:09:38	Wait till it's your will!
01:09:41	Barnes was married,
01:09:44	never had anyone
01:09:46	after the fact and said,
01:09:48	"Hey, you know, you screwed
01:09:51	I want the paintings."
01:09:53	The grandchildren
01:09:54	who showed up 50 years later.
01:09:56	- To anyone who's familiar
01:09:58	everything that he said
01:10:00	this will be destructive
01:10:02	I implore you to vote no.
01:10:07	- The motion passes.
01:10:09	Thank you very much.
01:10:10	- Right now
01:10:12	is an organization
01:10:15	to prevent the relocation
01:10:19	- It's such a great
01:10:21	It's almost a Barnesian story,
01:10:23	The heroic little guy fighting
01:10:26	and the downtown oligarchy.
01:10:30	That's what Barnes was doing.
01:10:31	- You get a choice here.
01:10:32	You get a choice
01:10:34	to the folks who live
01:10:37	the people who have been
01:10:38	at the Barnes Foundation.
01:10:40	- We're gonna be happy
01:10:41	but thanks for trying.
01:10:44	- Friends of the Barnes
01:10:46	"We're struggling here.
01:10:48	"We'd really like you to come
01:10:50	to save the Barnes
01:10:53	And I think it was that point
01:10:54	began to build,
01:10:56	and that the residents
01:10:58	had a feeling that,
01:10:59	Philadelphia can't just take
01:11:01	- So would
01:11:03	one of the world's greatest
01:11:05	move from the suburbs
01:11:08	- As Fox 29's Gerald Kolpan
01:11:10	while it appears the Iegal
01:11:13	some say, "Not so fast. "
01:11:15	- Montgomery County
01:11:17	friends of the Barnes
01:11:19	saying that if
01:11:21	could raise the money
01:11:22	they should have been able
01:11:25	to improve the Barnes
01:11:27	There are still unknowns
01:11:29	No one knows just how much
01:11:32	and no one knows how hard
01:11:36	is willing to fight.
01:11:41	- I don't have any respect
01:11:44	and political elite
01:11:46	You know, these are
01:11:48	who basically are doing
01:11:52	This is the Disneyland
01:11:55	That's not what
01:12:00	My primary goal is
01:12:04	by filing a petition
01:12:07	that there were things
01:12:11	that if he had known
01:12:14	that the outcome
01:12:16	What happened is,
01:12:19	a feeding trough
01:12:22	- The story is that the Barnes
01:12:25	has to move
01:12:28	It's not true.
01:12:30	- People wanted it to happen,
01:12:31	and they assessed
01:12:32	They saw what needed to be done
01:12:35	and they're powerful enough
01:12:37	- I'm convinced Judge Ott
01:12:40	and he's gonna do
01:12:41	and when he takes a look
01:12:43	yes, we can survive
01:12:45	and that's where
01:12:47	- The move is not a done deal.
01:12:51	As far as I'm concerned,
01:13:01	- It was a combination
01:13:06	And I think they focused on it
01:13:07	Iike Ahab focused
01:13:11	And I think the objective
01:13:14	and I don't think
01:13:16	thinks about Barnes
01:13:22	I think that this is the glory
01:13:27	- The reason it was permitted
01:13:30	was because the presentation
01:13:34	that it was financially
01:13:36	to stay in Montgomery County
01:13:40	- It was going down the tubes,
01:13:42	and there was no soluble answer
01:13:45	- If anybody can't fund
01:13:47	which is a tiny little budget,
01:13:54	then they ought to find
01:13:56	(birds chirping)
01:13:59	- You can't get
01:14:02	because of the restrictions
01:14:05	They couldn't get enough people
01:14:07	to make it even close
01:14:10	- The truth is, that's not
01:14:12	Lower Merion Township,
01:14:15	and they changed the zoning
01:14:18	The township was able to say
01:14:20	"You're allowed to admit
01:14:23	and open the gallery
01:14:25	So there is real potential here
01:14:30	There was no movement whatsoever
01:14:33	So they didn't allow themselves
01:14:35	and to gain more revenue.
01:14:37	And the supposition is that
01:14:40	because they didn't want people
01:14:43	of accessing
01:14:45	that they wanted people to say,
01:14:47	bring it to Philadelphia,
01:14:51	There are a lot of ways
01:14:53	in Montgomery County.
01:14:54	There was a deal offered
01:14:56	We estimated $50 million.
01:14:58	The county would float a bond
01:15:03	which enables the foundation
01:15:05	an ongoing endowment
01:15:07	to remain in Montgomery County.
01:15:08	- You know, in six weeks,
01:15:10	could have $50 million
01:15:13	you know, they could--
01:15:16	- This was all opened up
01:15:19	for purposes of negotiation.
01:15:20	There's a way
01:15:23	We had a response back from
01:15:26	"We're not interested in this."
01:15:28	There's got to be a reason
01:15:30	that they're not interested
01:15:34	- They never wanted
01:15:37	They wanted this place
01:15:41	They wanted it to go bust
01:15:45	to bring people in,
01:15:49	because they could then argue
01:15:52	on the basis of the indenture,
01:15:55	they could do it with impunity
01:15:57	to operate the way they wanted.
01:15:59	- So anybody that tells me
01:16:01	to keep it where it is...
01:16:04	is nonsensical.
01:16:07	The forces wanted it moved
01:16:11	(dramatic music)
01:16:14	(Music continues)
01:16:19	- It's fair to say
01:16:23	to move the Barnes.
01:16:25	This obviously involved
01:16:28	the politicians, mayors,
01:16:34	Everybody on that side
01:16:38	and they had something to gain.
01:16:40	I think the real question,
01:16:43	"When did the planning
01:16:46	and who was the lead figure? "
01:16:48	That's the story
01:16:49	(music slows, reverses)
01:16:52	(Music continues)
01:17:02	- In 1995, after sending
01:17:07	the paintings came back
01:17:09	There was a gala dinner
01:17:12	at which a local billionaire,
01:17:16	had a little idea.
01:17:21	- A man by the name
01:17:23	who was then, I think,
01:17:24	chairman of the board
01:17:26	came to see me
01:17:28	of my eight years as mayor
01:17:29	and suggested
01:17:32	to convince the state
01:17:36	The art museum wanted to,
01:17:38	to run it, the benefits
01:17:41	et cetera, et cetera,
01:17:43	So that was probably '95, '94,
01:17:47	- My only personal contact
01:17:51	was to have him scream
01:17:57	while at the same time
01:18:00	for the decision
01:18:03	to downtown Philadelphia.
01:18:06	Ray Perelman is a nasty old man.
01:18:13	Spell my name right
01:18:15	that I'm the one who said that.
01:18:18	Barnes did something that
01:18:23	Ray Perelman does not have
01:18:26	He never will.
01:18:28	And I can understand
01:18:31	He can't do much about it
01:18:33	out of the hands
01:18:44	Part of what Perelman
01:18:47	was convincing anyone
01:18:51	to either side with him
01:18:54	Is that a conspiracy?
01:18:56	I don't know.
01:18:57	One man's conspiracy is another
01:19:02	- Why wouldn't the great
01:19:05	want to save
01:19:07	exactly where it is?
01:19:09	I mean, they are
01:19:13	They should want to preserve
01:19:16	as a really original
01:19:20	Why wouldn't they want
01:19:23	- One of the nation's Iargest
01:19:25	is now a charity.
01:19:27	The Pew Charitable Trusts
01:19:31	The change in status
01:19:33	millions of dollars in taxes
01:19:35	and it will have
01:19:37	on how it can spend
01:19:39	- One of the other things
01:19:42	was that Pew was in the process
01:19:46	for tax reasons
01:19:49	into a public charity.
01:19:53	- One thing that
01:19:56	is demonstrate that it has
01:20:02	very large sums of money.
01:20:04	- Pew also cited another
01:20:06	a new building
01:20:08	in downtown Philadelphia.
01:20:10	Pew's CEO, Rebecca Rimel,
01:20:13	could not only raise money
01:20:14	but administer those funds
01:20:17	- The Barnes was one example
01:20:20	as a public charity
01:20:22	as a private foundation.
01:20:24	- Coincidentally,
01:20:27	"We would be happy to be
01:20:30	"to assemble the funds
01:20:35	of the Barnes Foundation."
01:20:40	- Our application to become
01:20:42	had absolutely nothing to do
01:20:45	- You know, in court,
01:20:49	"Oh, you know,
01:20:51	that's nice,
01:20:54	Well, you go look at
01:20:57	that's all they talk about
01:21:01	- In its filings with the lRS
01:21:03	and the Commonwealth
01:21:04	it specifically alludes
01:21:09	behind moving the Barnes art
01:21:16	- Look,
01:21:19	If you're really in it
01:21:20	you're gonna be a pink lady
01:21:22	You're going to be, you know,
01:21:25	from your church's
01:21:28	These people are power brokers.
01:21:31	Don't for one minute think
01:21:32	that if Rebecca Rimel
01:21:34	"Well, I now have $400 million
01:21:37	"and manipulate various things
01:21:41	"with what clout I have,
01:21:43	"how much clout I'll have
01:21:44	"with a billion a year
01:21:46	instead of only 400 million? "
01:21:55	- And, I might add,
01:21:57	that for the first time
01:21:58	that Pew had now estimated
01:22:00	of the Barnes art was not,
01:22:02	as Glanton had thought,
01:22:04	or I had thought,
01:22:06	But according to the Pew,
01:22:08	it was 25 to $30 billion
01:22:13	The three foundations
01:22:14	that they would give
01:22:16	They said they would raise
01:22:20	Even if they gave $150 million,
01:22:22	it's the greatest bargain maybe
01:22:26	to get $25 billion worth
01:22:29	of irreplaceable
01:22:33	for what, for them,
01:22:44	- On a Friday
01:22:46	in October of 2006,
01:22:53	from someone within
01:22:58	saying that squirreled away
01:23:05	of the state of Pennsylvania
01:23:10	$7 million for upgrades
01:23:15	$100 million
01:23:33	(somber music)
01:23:37	- It's amazing to me
01:23:38	I called the appropriation
01:23:41	because it had no father
01:23:44	Nobody knows who asked
01:23:49	So maybe it was
01:23:51	We don't know.
01:23:54	- The budget bill is a very
01:23:58	and 99% of the other members
01:24:01	of the General Assembly,
01:24:03	didn't know when they voted
01:24:06	that particular project
01:24:10	- It was never publicized,
01:24:12	the judge didn't know,
01:24:13	but the people who were trying
01:24:16	within that group of people...
01:24:20	It's-- it would be unbelievable
01:24:26	The rescue operation said,
01:24:31	"to build a new building
01:24:33	for the Barnes Foundation."
01:24:36	The state budget
01:24:40	to build a new building
01:24:44	in downtown Philadelphia.
01:24:45	What a coincidence,
01:24:46	a shocking coincidence.
01:24:48	- All the big-money people
01:24:52	you can't tell me
01:24:53	$100 million
01:24:56	Some senator didn't wake up
01:24:58	"I'm just gonna do this."
01:25:00	Somebody with influence
01:25:03	Whoever that person was--
01:25:08	never let on in court
01:25:11	Here you come to court,
01:25:14	"There's no other way
01:25:16	We got to move
01:25:17	Had the judge known that,
01:25:19	oh, the state could put up
01:25:22	it would have been
01:25:24	- Rebecca Rimel professes,
01:25:27	"We didn't have anything
01:25:29	But all these people that would
01:25:31	I mean, you have to understand,
01:25:32	The Pew Trusts, at the same time
01:25:35	filed for public charity status.
01:25:38	But in order to show
01:25:40	you have to be getting money
01:25:43	- The Pew Charitable Trust
01:25:45	was worth $4 billion.
01:25:47	Who in their right mind
01:25:49	to a $4 billion foundation?
01:25:54	- Apparently, for some reason,
01:25:57	Governor Rendell
01:25:58	that this is
01:26:00	for the city of Philadelphia
01:26:01	and has allocated $25 million
01:26:05	out of that $100 million
01:26:08	- One of the neat things
01:26:11	you can administer money
01:26:14	including the Commonwealth
01:26:17	Pew gets credit for that as,
01:26:22	That counts towards
01:26:26	I'm not quite so naive
01:26:28	that no one knew about
01:26:31	Maybe it was a typo.
01:26:33	I don't know.
01:26:34	But she didn't know anything
01:26:38	- People involved
01:26:40	of the Barnes Foundation
01:26:44	and kept that information
01:26:46	- Is that a linchpin?
01:26:48	It's like, what are
01:26:51	that should have been brought
01:26:53	If I had been a judge,
01:26:55	which probably
01:26:56	I would have, if I had learned
01:26:59	"You know what?
01:27:01	"These proceedings
01:27:03	"The parties should
01:27:05	a piece of that money to keep it
01:27:08	- If I was Judge Ott,
01:27:11	I'd be looking for a way
01:27:15	Because he got taken for a ride.
01:27:18	I don't know many judges
01:27:20	in their courtrooms.
01:27:22	I don't know many judges
01:27:25	Judge Ott was made a fool of
01:27:31	(birds chirping)
01:27:34	- So you see all these
01:27:38	and if I were
01:27:41	I'd think an enormous conspiracy
01:27:44	of moneyed interests
01:27:48	to have their way,
01:27:49	to manipulate the treasury
01:27:52	to manipulate the legal system
01:27:55	to manipulate Dr. Barnes'
01:27:59	to manipulate
01:28:02	to play on this needy
01:28:05	so desperate for money
01:28:06	and know that $50 million would
01:28:09	to what was really
01:28:11	- I just think they wanted
01:28:15	and the whole establishment
01:28:20	They don't like to have
01:28:24	I think they're used
01:28:25	and this is the way,
01:28:27	you're standing in the way.
01:28:36	- If any major figure within
01:28:39	wanted to speak
01:28:42	they could kiss the
01:28:45	They could kiss
01:28:47	They could kiss the
01:28:50	Perhaps they could kiss
01:28:52	No one could speak.
01:28:56	- Yeah, but the news is
01:28:58	- Sir, that's all I'm asking.
01:28:59	- I'm asking--
01:29:01	- And I'm telling
01:29:02	- You're not giving me
01:29:04	Are news crews allowed in
01:29:06	- If the news
01:29:09	and we are part of the press,
01:29:10	then we should be allowed inside
01:29:12	- No, no, those press
01:29:14	- Right,
01:29:16	- So even though the mayor's
01:29:18	open to the press
01:29:19	- You're not invited.
01:29:20	Please step out of...
01:29:22	Please step out.
01:29:23	- People in museums in New York,
01:29:26	in Chicago and Dallas
01:29:29	didn't say a goddamn word
01:29:32	I think they were scared.
01:29:34	They were frightened
01:29:36	who are benevolent
01:29:38	to all kinds of causes.
01:29:40	Some of them have supported
01:29:42	And I've often wondered
01:29:43	if I'm not endangering
01:29:45	by complaining about
01:29:48	- You know, I'm afraid.
01:29:51	I realize I'm putting some part
01:29:55	at risk by doing this.
01:29:56	I don't know how they would
01:29:58	but if they wanted to,
01:29:59	they can make anybody's life
01:30:02	- The forces that, in effect,
01:30:07	are almost overwhelming.
01:30:09	You could ask
01:30:10	"Who speaks for the art
01:30:14	"when so many powerful political
01:30:21	are at work against it? "
01:30:36	- (clears throat)
01:30:39	(ignition starts)
01:30:44	(soft piano music)
01:30:45	(Music continues)
01:30:49	- Yeah, it's a big day.
01:30:50	Today's oral arguments,
01:30:54	what both sides
01:30:55	to the judge in writing
01:30:58	they're gonna repeat,
01:31:03	And he'll decide
01:31:08	and convene some hearings
01:31:10	to decide whether
01:31:12	should still be permitted
01:31:15	or he'll pretty much,
01:31:18	throw us out of court,
01:31:23	(Music continues)
01:31:24	- It's all
01:31:26	If Stanley wants to undo it,
01:31:29	He can say that he was given
01:31:32	the first time through
01:31:34	and the record
01:31:37	and it deserves
01:31:38	And I think he's a good enough
01:31:43	- We have an obligation to do
01:31:45	what Dr. Barnes
01:31:47	and I think that's the essence
01:31:49	that not enough was done
01:31:51	what can be done
01:31:53	Some people, like the Friends
01:31:55	aren't gonna let that happen,
01:31:56	and hopefully,
01:32:01	- Unfortunately,
01:32:03	a big political football,
01:32:04	and it never should have
01:32:07	- In that sense, Richard Glanton
01:32:10	Glanton said, when I asked him
01:32:13	"It's about who controls
01:32:17	and everything else
01:32:19	Well, no, Richard was wrong.
01:32:22	It's about who controls
01:32:26	and everything else
01:32:28	(Music continues)
01:32:43	(birds chirping)
01:32:50	(traffic whooshes)
01:33:09	- Well, Wednesday night,
01:33:11	and there was an email
01:33:14	the subject heading
01:33:16	had issued his decision.
01:33:21	He apparently has decided
01:33:23	he's not going to investigate
01:33:30	any of the matters
01:33:32	to the court's attention.
01:33:33	He had declined
01:33:35	by declaring that none
01:33:38	that is, the Friends
01:33:40	and Montgomery County,
01:33:41	had standing to intervene
01:33:50	(drill whirs)
01:34:01	(siren blares)
01:34:05	I don't think that the judge
01:34:06	or the trustees
01:34:08	or anybody who's
01:34:11	who sincerely supports the move
01:34:17	that they understand what it is
01:34:22	It'll be a tragedy,
01:34:23	and it'll be
01:34:25	This is not some minor thing.
01:34:32	It's not often in life
01:34:34	for something
01:34:36	and I've gotten a chance
01:34:40	I would've much rather be
01:34:48	whatever the opposite
01:34:52	(Music continues)
01:34:59	- So the city
01:35:04	The governor does too.
01:35:06	The governor makes his friends
01:35:08	Pew gets to control the art.
01:35:11	Gerry Lenfest
01:35:14	is chairman of the museum.
01:35:16	The museum finally,
01:35:18	It's virtually an appendage.
01:35:20	And Annenberg people get
01:35:26	And if it's not the destruction
01:35:28	what is it?
01:35:36	- Sort of expect
01:35:38	an Annenberg and a Lenfest
01:35:40	of this new Barnes building.
01:35:41	And at some point Barnes
01:35:45	You get-- you can probably get
01:35:47	with his name on it,
01:36:02	- Maybe that's a way of having
01:36:04	to the forefront and be
01:36:06	It'll be the leader in showing
01:36:09	and how to break-- how to break
01:36:12	You know, maybe that's a good,
01:36:16	They can have, you know--
01:36:17	ring a special Liberty Bell
01:36:29	- And I think not only
01:36:31	by having it moved,
01:36:32	he'll be violated
01:36:34	he wanted you to have,
01:36:36	and that's important,
01:36:40	it belonged to him.
01:36:41	He had the right to do with it
01:36:44	And these people,
01:36:48	and took it away from him.
01:37:01	- These are not people
01:37:04	These are people who are
01:37:09	And who would destroy what is...
01:37:15	a perfect jewel box...
01:37:21	and also a kind of
01:37:30	You know,
01:37:31	is to see the art as Barnes,
01:37:34	for all of his greatness
01:37:40	And it is, in its way...
01:37:48	(dramatic music)
01:37:51	Matisse said
01:37:53	to see art in America.
01:37:56	I'll wager Matisse
01:38:00	and Rebecca Rimel any day,
01:38:04	and I bet Dr. Barnes
01:38:06	I think he might say,
01:38:12	(pensive music)
01:38:15	(Music continues)

Art of The Steal The