A monumental volume devoted to one of the world’s largest and most spectacular collections of Cézannes. The Barnes Foundation’s holdings of works by the renowned Post-Impressionist Paul Cézanne (1839–1906)—sixty-one oils on canvas and eight works on paper—are among the most significant in the world. The Barnes Foundation was established in 1922 by scientist, entrepreneur, and educator Dr. Albert C. Barnes, a passionate supporter of European modernism. His virtually unrivaled collection, which can only be viewed at the Barnes Foundation, also includes exceptional paintings by Pierre-Auguste Renoir, Henri Matisse, Pablo Picasso, and many others. Beginning in 1912, Barnes acquired works by Cézanne from major Paris dealers such as Paul Durand-Ruel and soon ranked among the artist’s most prominent collectors. At the time, this expressed a pioneering taste that Barnes shared with only a small group of enthusiasts, even though Cézanne had been posthumously hailed as a father of modern art at the turn of the twentieth century. The foundation’s impressive holdings of Cézannes—never before published in a single study in their entirety—span every period of the artist’s career and include his largest rendition of The Card Players and one of the three versions of The Large Bathers, one of his signal testaments. This lavishly illustrated landmark volume is both a work on Cézanne and his time, and an impetus for further study of an artist whose oeuvre is at once luminous, austere, challenging, and deeply confounding.

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.

A Robert F. Sibert Honor Book Winner of the Schneider Family Book Award An ALA-ALSC Notable Children's Book Winner of the NCTE Orbis Pictus Award for Outstanding Nonfiction for Children As a child in the late 1800s, Horace Pippin loved to draw: He loved the feel of the charcoal as it slid across the floor. He loved looking at something in the room and making it come alive again in front of him. He drew pictures for his sisters, his classmates, his co-workers. Even during W.W.I, Horace filled his notebooks with drawings from the trenches . . . until he was shot. Upon his return home, Horace couldn't lift his right arm, and couldn't make any art. Slowly, with lots of practice, he regained use of his arm, until once again, he was able to paint--and paint, and paint! Soon, people—including the famous painter N. C. Wyeth—started noticing Horace's art, and before long, his paintings were displayed in galleries and museums across the country. Jen Bryant and Melissa Sweet team up once again to share this inspiring story of a self-taught painter from humble beginnings who despite many obstacles, was ultimately able to do what he loved, and be recognized for who he was: an artist.

A spectacular survey of the world's most comprehensive collection of works by the Impressionist master Renoir The Barnes Foundation is home to the world's largest collection of paintings by Pierre-Auguste Renoir (1841-1919). Dr. Albert C. Barnes, a Philadelphia scientist who made his fortune in pharmaceuticals, established the Foundation in 1922 in Merion, Pennsylvania, as an educational institution devoted to the appreciation of the fine arts. A passionate supporter of European modernism, Barnes built a collection that was virtually unrivaled, with massive holdings by Paul Cézanne, Henri Matisse, and Pablo Picasso. But it was Renoir that Barnes admired above all other artists; he thought of him as a god and collected his work tenaciously, amassing 181 works by the painter between 1912 and 1942. All of these Renoirs are included in this lavishly illustrated book. Renoir in the Barnes Foundation tells the fascinating story of Barnes's obsession with the Impressionist master's late works, while offering illuminating new scholarship on the works themselves. Authors Martha Lucy and John House look closely at the key paintings in the collection, placing them in the wider contexts of contemporary artistic, aesthetic, and theoretical debates. The first volume to publish the entirety of Barnes's astonishing Renoir collection, Renoir in the Barnes Foundation is also an engaging study of the artist's critical--and often contested--role in the development of modern art. Published in association with the Barnes Foundation

Excerpt from The Art of Cezanne The problem of the observer is to recognize this individuality and to share the values communicated in and through it. He must be able to identify plastic form when he encounters it in a picture, that is, to distinguish between an organic union of insights won by personal experience, and plastic clichés assembled according to a stereotyped formula. He must, in brief, learn to see, and the process is long and arduous, involving as it does constant practice in the sharpening of perceptions of color, of the play of light and shadow, of the sequence and rhythm of line and mass, of the inter relationships between these factors that endow each of them with meaning. It requires a knowledge of the traditions of painting and of the technical means by which the artist works. Competently applied, the process yields results inaccessible to casual or un trained observation, and when guided by scientific method it de velops an objective criterion or standard of judgment of the same order of certitude as the findings of pure science. Our efforts to apply the scientific method to a study of Cé zaune's work has required a detailed examination of his technique and form, as they emerged throughout the course of his develop ment. The investigation began twenty-five years ago, and by 1925 had reached a stage that seemed to warrant publication of a sec tion, entitled The Development of Cézanne's Technique, in the first edition of our book The Art in Painting. 1 This chapter was omitted from subsequent editions because continued study of a steadily increasing number of Cézanne's pictures showed the data upon which it was based to have been inadequate. Our study, as presented herewith, amplifies the earlier investigation by including the significant findings of detailed analyses of practically all of Cézanne's important paintings, from the beginning to the end of his career. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

A major reappraisal of Paul Cézanne's achievement in, and lasting influence on, the genre of still life.

A comprehensive description and behind-the-scenes look into the architectural evolution of the Barnes Foundation’s new building in downtown Philadelphia. In 2007, Tod Williams Billie Tsien Architects received the commission to design the new Barnes Foundation building, an enviable project that was surrounded both by controversy and the excitement of increasing access to one of America’s premier collections of post-impressionist art, amassed by Dr. Albert C. Barnes in the early twentieth century. The book presents photographs and drawings highlighting the new building’s sensitivity to the ideology of Dr. Barnes and the creativity of Paul Cret, who designed the foundation’s gallery in Merion. In the new facility, the Merion galleries are faithfully reproduced at the same scale with similar materials and are seamlessly integrated into the larger new building—a refined modernist masterpiece surrounded by grounds designed by landscape architect Laurie Olin.

A playful room-by-room "bird-watching" guide to the Albert C. Barnes galleries. Rumor has it that Dr. Barnes put a bird in every room of his famed collection. But is this really true, and if so, why? The Barnes Foundation collection offers an astounding array of art, focusing on post-impressionist and early modern masters: Renoir, Cézanne, Picasso, and Matisse. However, interspersed among these notable greats is a different kind of collection that incorporates folk art, pottery, furniture, and ironwork from cultures around the world. The instructional collection is built around a philosophy of individual interpretation, and following the birds from one room to another offers you an accessible starting point for uncovering the educational methods Dr. Barnes used to encourage students to look at art. This lighthearted tour weaves art, history, and lessons on the collection into a delightful search for birds hiding in the gallery.

This work accompanies an exhibition organised, in partnership, by Tate Modern, the Galeries Nationales du Grand Palais, and the Museum of Modern Art. It examines the crucial relationship between Matisse and Picasso.