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>> Woman: WELL, HELLO EVERYBODY.

THIS IS A FABULOUS DAY

FOR PHILADELPHIA, AND WE HAVE

SOME WONDERFUL NEWS FOR YOU, AND

I AM SO PROUD TO PRESENT TO YOU

THE MAYOR OF PHILADELPHIA,

THE MAYOR OF ARTS AND CULTURE,

JOHN STREET.

[APPLAUSE]

>> THANK YOU AND GOOD AFTERNOON,

EVERYONE.

NOW, LET ME SEE...

WHAT KIND OF DAY AM I HAVING?

[LAUGHTER]

UM, ACTUALLY IT IS A VERY, VERY

SPECIAL MOMENT FOR ALL OF US

HERE IN THE CITY OF

PHILADELPHIA.

THIS HAS BEEN, THIS HAS BEEN

A JOURNEY, UH, AND WE'RE NOT

COMPLETELY FINISHED YET,

BUT LET ME TELL YOU SOMETHING.

IT'S ONE OF THOSE THINGS

THAT WILL MAKE OUR CITY SPECIAL

FOR A LONG, LONG TIME.

YOU WILL NOT BE ABLE TO GO TO

HOUSTON AND SEE THE BARNES

COLLECTION.

YOU WON'T BE ABLE TO GO TO

BOSTON, YOU WON'T BE ABLE TO

GO ANYWHERE ELSE.

IF YOU WANNA SEE IT, YOU COME TO

THE CITY OF PHILADELPHIA.

AND SO IT IS WITH A GREAT

SENSE OF PRIDE THAT WE COME HERE

TODAY SO THAT THE BARNES

COLLECTION CAN BE MOVED FROM...

LOWER MERION?

>> Man: MERION.

>> FROM MERION...

ACTUALLY, I PAUSE TO TELL YOU

THAT I WAS ON A BIKE RIDE

NOT TOO LONG AGO AND RODE

RIGHT PAST THE PLACE.

AND I SAID, "SEE YA SOON..."

[LAUGHTER]

"IN THE CITY OF PHILADELPHIA ON

THE BENJAMIN FRANKLIN PARKWAY."

[♪...]

>> YOU KNOW, THIS IS A STORY

WHICH SHOULD HAVE BEEN TOLD

AS IT WENT ALONG.

[TAPE CASSETTE CLICKS]

>> Man on recording: It is the

greatest act of cultural

vandalism since World War II.

[♪...]

>> Man: IT'S BEEN A CIRCUS...

AND HE COULDN'T TAKE THE

PAINTINGS UP TO HEAVEN WITH HIM

OR HELL OR WHEREVER THE HECK

HE WOUND UP.

[♪...]

>> Man: NAME OF THE GAME IS

IF YOU'RE GONNA LEAVE YOUR

PAINTINGS SOMEWHERE, DON'T LET

THERE BE A POLITICIAN WITHIN

500 YARDS.

[♪...]

>> Man: IT'S AMERICA'S TREASURE

TO BE UNTAINTED BY THESE

ATTACKS.

[♪...]

>> Man: CULTURE HAS BECOME

BIG BUSINESS, CULTURE IS AN

INDUSTRY.

THERE'S A CULTURE INDUSTRY THAT

REQUIRES NEW PRODUCT.

[♪...]

>> Man: THIS IS ABOUT HUMANITY,

BUT YOU CAN'T PUT DOLLAR SIGNS

ON THAT-- I MEAN, OBVIOUSLY,

YOU DESTROY SOMETHING FRAGILE

WHEN YOU DO THAT.

[♪...]

>> Man: IT'S AN EXAMPLE OF

SOMETHING THAT'S HAPPENING ALL

ACROSS THE SOCIETY AND THIS IS

JUST ONE NICE, LITTLE MICROCOSM

THAT WE CAN LOOK AT CAREFULLY.

[♪...]

>> Man: NO ONE KNOWS THIS STORY.

THIS IS A HIDDEN STORY AND IT'S

A BIG, BIG SCANDAL.

[♪...]

THIS IS THE SCANDAL OF THE

ART WORLD IN MODERN AMERICA.

ART WORLD IN MODERN AMERICA. [♪...]

[♪...]

[CASSETTE CLICKS AND WHIRS]

>> The Barnes is one of the last

great personal collections in

the United States.

The fight now is over how

closely the foundation Barnes

established should follow

Barnes's wishes.

Here were modern paintings

so important that they were

the envy of virtually every

art museum in the world.

[BIRDS CHIRPING, ♪...]

>> Man: THIS IS THE TREASURE

TROVE OF, UH, THE MODERN ART OF

AMERICA AND OF THE WORLD.

AND THIS IS THE BEST OF THE BEST

OF THE BEST.

>> Man: WHEN YOU GO THROUGH

THE BARNES COLLECTION, IT IS

JAW-DROPPING.

YOUR MOUTH FALLS OPEN.

YOU CAN'T BELIEVE YOU'RE

SEEING THIS.

AND THEN YOU GO IN ANOTHER ROOM

AND IT'S MORE AND MORE AND MORE

AND MORE, IT'S JUST INCREDIBLE.

>> I HAD AN ART HANDLER THERE,

AND THE FIRST TIME SHE PICKED UP

THE VAN GOGH POSTMAN TO MOVE IT,

SHE WALKED ABOUT THREE FEET,

SHE PUT THE PAINTING BACK DOWN

VERY CAREFULLY, AND SHE SAT ON

A BENCH AND SHE CRIED.

>> THEY'VE GOT MORE CEZANNES

THAN THE ENTIRE CITY-- THAN ARE

IN THE ENTIRE CITY OF PARIS.

THERE'S 181 RENOIRS,

WALL-TO-WALL.

59 PAINTINGS BY MATISSE.

THE JOY OF LIFE IS ALWAYS CITED

IN EVERYONE'S ART BOOK 'CAUSE

IT'S SUCH AN IMPORTANT PAINTING

IN THE HISTORY OF ART.

PICASSO, 46.

SEVEN BY VAN GOGH.

SIX BY SEURAT.

THE SEURAT MODELS, NOW,

OF COURSE, THAT REALLY IS

SORT OF A SPECTACULAR THING THAT

THERE IS NO EQUAL FOR.

>> UH, SIMPLY THE CONCENTRATION

OF THE WORK OF THESE PARTICULAR

MASTERS IS UNRIVALED.

THE LOUVRE DOESN'T HAVE IT.

THE MUSEUM OF MODERN ART,

THE METROPOLITAN MUSEUM,

THEY DON'T HAVE IT.

>> IF YOU'VE BEEN TO ANY OTHER

MUSEUM, YOU'RE USED TO WALKING

IN AND SEEING THESE WHITE WALLS

AND THESE PAINTINGS HUNG UP.

YOU KNOW, IT'S LIKE A SHOPPING

EXPERIENCE.

>> Zaller: BARNES WASN'T

INTERESTED IN A MASS EXPERIENCE.

HE WAS INTERESTED IN A QUALITY

EXPERIENCE.

>> Man: THE ROOMS ARE INTIMATE.

THEY ARE NOT MADE TO ACCOMMODATE

INDUSTRIAL-STRENGTH,

SMITHSONIAN-SIZE CROWDS.

>> Tinari: THE BARNES COLLECTION

IS ARRANGED NOT BY PERIOD,

NOT BY ARTIST, BUT BY

AESTHETIC VALUES.

>> Bond: YOU CAN SEE THAT

A CEZANNE AND A DOOR LOCK

AND SOME FURNITURE ARE ALL

GROUPED TOGETHER.

WELL, HE HAD A REASON FOR THIS.

>> Man: IT'S A COMPLETELY

DIFFERENT WAY OF UNDERSTANDING

A WORK OF ART AND ONE'S

EXPERIENCE OF A WORK OF ART.

>> WE SEE THIS COLLECTION WITH

A VERY INTERESTING PERSONALITY

STAMPED ON IT.

>> THE BARNES FOUNDATION IS THE

SINGLE MOST IMPORTANT AMERICAN

CULTURAL MONUMENT OF THE FIRST

HALF OF THE 20th CENTURY.

>> FROM AN ARTS AND CULTURAL

POINT OF VIEW, IT IS NOT

A LITTLE PLACE.

IT'S AN ABSOLUTELY ESSENTIAL,

CRITICAL, EARTH-SHAKINGLY

IMPORTANT PLACE.

[BIRDS CHIRPING]

[RECORD NEEDLE CRACKLING]

[PROJECTOR WHIRRING, ♪...]

>> Man: WELL, ALBERT BARNES,

I'VE COME TO THINK OF AS REALLY

AN EXTRAORDINARY CHARACTER

BECAUSE, I MEAN, HE'S, HE TENDS

TO BE DISMISSED AS THIS SORT OF

A BIZARRE CURMUDGEON.

BUT IN FACT, UM, I THINK IS

SORT OF, SOMETHING OF A,

A GENIUS.

>> DR. BARNES IS A PARTICULAR

INTEREST OF MINE BECAUSE

I'M FASCINATED THAT THIS

WORKING-CLASS MAN FROM

PHILADELPHIA, WHO'S BOXING TO

HELP PAY HIS UNIVERSITY FEES,

HOW THIS YOUNG MAN CREATES

ONE OF THE MOST BEAUTIFUL

COLLECTIONS OF EARLY MODERN ART

IN THE WORLD.

>> HE WAS A BRILLIANT KID

WHO CAME UP OUT OF THE SMOKE

AND BECAME VERY SUCCESSFUL.

[♪...]

>> Woman: ♪ V.D. IS FOR...

>> Anderson: DR. BARNES

MADE HIS WAY INTO THE UNIVERSITY

OF PENNSYLVANIA, AND THEN IN ITS

MEDICAL SCHOOL HE REALIZED THAT

THERE WAS A MARKET FOR A

SUBSTITUTE FOR SILVER NITRATE,

WHICH AT THAT TIME A DROP OR TWO

WAS PUT IN THE EYES OF ALMOST

EVERY BABY BORN IN AMERICA

TO PROTECT THEM FROM VENEREAL

DISEASE.

>> Woman: ♪ V.D. IS FOR

EVERYBODY... ♪

>> Anderson: THE PRODUCT WHICH

BARNES HAD COME UP WITH WAS

SOMETHING CALLED ARGYROL.

>> Tinari: BARNES MARKETED

SOMETHING THAT SOLVED A HUGE

PROBLEM AND, YOU KNOW,

THE WEALTH THAT WOULD COME FROM,

IMAGINE TODAY THAT YOU HAD

INVENTED, YOU KNOW, A CURE FOR

AIDS.

GLACKENS, A FRIEND FROM

CENTRAL HIGH, WHO WAS AN ARTIST,

INTRODUCED BARNES TO ART.

BARNES, BEING THIS CURIOUS TYPE,

IMMERSED HIMSELF IN IT

IN THE SAME WAY HE IMMERSED

HIMSELF IN ANY OTHER OBJECTIVE

SCIENTIFIC PROBLEM.

HE WANTED TO LEARN ABOUT IT,

HE WANTED TO UNDERSTAND IT.

BUT HERE HE WAS IN PHILADELPHIA.

AND AT THAT RATE, PHILADELPHIA

DIDN'T HAVE A CLUE.

>> Man: THE MONEY PEOPLE,

WHO WERE VERY CONSERVATIVE, DID

NOT HAVE A SENSE OF PROGRESS.

BARNES DID.

[♪...]

>> Tinari: WELL, HE'D STARTED

GOING TO PARIS, YOU KNOW,

TRYING TO UNDERSTAND WHAT WAS

HAPPENING WITH MODERN ART.

>> BARNES'S TASTE IS PRETTY WELL

FORMED IN ABOUT TWO OR THREE

YEARS, AND HE HAS A FEELING THAT

RENOIR AND CEZANNE ARE THE

PILLARS OF THE MODERN MOVEMENT.

HE ALSO THEN SEES THAT MATISSE

AND PICASSO ARE THE CONTINUATORS

OF THIS GREAT TRADITION.

>> BARNES WAS WAY AHEAD OF HIS

TIME, HE WAS AHEAD OF HIS TIME

ARTISTICALLY, INTELLECTUALLY,

CULTURALLY, POLITICALLY.

HE COLLECTED SOME OF

THE GREATEST ART IN THE HISTORY

OF THE WORLD AT A TIME WHEN

THE AMERICAN ART ESTABLISHMENT

REGARDED THIS ART AS, UH,

INACCESSIBLE TO AUDIENCES

AND OF LITTLE VALUE.

>> JUST THINK, THE MUSEUM OF

MODERN ART WAS IN EXISTENCE.

THE PHILADELPHIA MUSEUM OF ART

WAS IN EXISTENCE.

THESE WERE HIS COMPETITORS.

THE MET HAD BEEN AROUND FOR

30 YEARS.

IT'S THIS EXTRAORDINARY MOMENT

WHERE ONE MAN WAS ABLE TO BUY

SOME OF THE VERY GREATEST WORKS

BEFORE MUSEUMS WERE COMPETING.

BEFORE MoMA AND PHILADELPHIA

AND BOSTON WERE ACTUALLY SAYING,

"WE HAVE TO BUY THESE ARTISTS

AS WELL."

>> THERE'S ALWAYS BEEN THIS

TENSION IN THE ART WORLD ABOUT

THE BARNES COLLECTION, BECAUSE

THERE, THERE IS THIS TRULY

PHENOMENAL COLLECTION THAT

THE MUSEUM WORLD CAN'T GET THEIR

HANDS ON.

[MUSIC ENDS]

[MUSIC ENDS] [CAR HORNS HONKING]

[CAR HORNS HONKING]

>> Feigen: WE'RE AT SOTHEBY'S

AT A PREVIEW FOR THEIR BIG

IMPRESSIONIST AND MODERN SALE.

[GENERAL CONVERSATION]

I MEAN, THERE'S A VAN GOGH THERE

WHICH IS A NICE PICTURE

BY A GREAT ARTIST.

THIS IS NOT A GREAT VAN GOGH.

THEY'RE ESTIMATING 35 MILLION.

I SUSPECT IN THIS MARKET

WITH THIS LIQUIDITY, THAT THAT,

THAT, IT WILL GO MUCH HIGHER

THAN THAT.

IT'S NOT BARNES-WORTHY.

HE WOULD HAVE NOT BOUGHT THAT

HE WOULD HAVE NOT BOUGHT THAT VAN GOGH, BUT IT IS A VAN GOGH.

VAN GOGH, BUT IT IS A VAN GOGH.

BARNES WOULDN'T EVEN LOOK AT

THAT PAINTING.

SOME PICTURES ARE UNATTRACTIVE

AND SIGNIFICANT.

SOME PAINTINGS ARE ATTRACTIVE

AND INSIGNIFICANT.

THIS IS BOTH UNATTRACTIVE AND

INSIGNIFICANT.

I MEAN, THE ONE LAST NIGHT

AT 35 MILLION WAS A MUCH BETTER

PAINTING.

THAT WAS A GOOD MATISSE.

I DON'T THINK IT WAS GOOD ENOUGH

FOR BARNES TO BUY.

AND THE CEZANNE HERE IS...

NOT EVEN A SHADOW OF A BARNES'

CEZANNES.

THIS IS ESTIMATED AT 79 MILLION.

I COULDN'T EVEN HANG IT IN THE

SAME ROOM AS THE CARD PLAYERS.

BUT THE CARD PLAYERS WOULD BE

PROBABLY BEYOND, CERTAINLY ANY

INDIVIDUAL'S CAPACITY.

I MEAN, HOW MUCH MONEY IS IN

ANY ONE PLACE?

THE GETTY COULDN'T AFFORD IT.

YOU'D NEED SOME SORT OF A NATION

TO BUY IT.

>> Auctioneer: NOW, 0011.

>> Feigen: YOU'RE GONNA SEE

PRICES IN THE CONTEMPORARY SALES

THAT WILL MAKE YOUR HEAD SPIN.

>> LET'S START THE BIDDING AT

$20 MILLION, AT $20 MILLION

HERE, $20 MILLION.

>> Feigen: FOR THINGS THAT ARE

NOT EVEN SCARCE, LET ALONE

IMPORTANT.

>> $35 MILLION AND FAIR WARNING.

LAST CHANCE.

SELLING THEN FOR $35 MILLION.

[GAVEL CLACKS]

>> Feigen: THERE CERTAINLY

AREN'T ANY COLLECTIONS LIKE

THE BARNES ANYWHERE ANYMORE

IN PRIVATE HANDS.

[♪...]

>> Woman: WHAT IS A COLLECTION

LIKE THIS WORTH?

>> OH.

[SIGHS]

[♪...]

UH, LOOK, THERE'S SOME THINGS

IN THE COLLECTION THAT, UH,

ONE CAN'T EVEN BEGIN TO

CALCULATE.

I... I COULD GO THROUGH THE

INVENTORY, PAINTING BY PAINTING,

AND A LOT OF THEM I COULD

COME UP WITH SOME KIND OF

A NUMBER.

BUT SOME THINGS IN THERE I JUST,

NOBODY COULD FIGURE OUT.

THE MATISSE LA DANSE,

NOBODY COULD FIGURE OUT WHAT

THAT'S WORTH.

WE DON'T KNOW.

THERE'S BEEN NOTHING LIKE IT.

THERE NEVER WILL BE.

[SIGHS]

IT'S WORTH BILLIONS, I HAVE

NO IDEA WHAT IT'S WORTH.

UH, THE CEZANNE CARD PLAYERS,

I MEAN, WHAT IS IT WORTH, UH,

500 MILLION, OR THE OTHER ONE

500 MILLION?

I MEAN, WE'RE, WE'RE TALKING

ABOUT BILLIONS AND BILLIONS.

[♪...]

>> Anderson: THE INITIAL

EXHIBITION OF THE BARNES ART

TOOK PLACE IN 1923 IN

PHILADELPHIA WHEN BARNES

EXHIBITED THE COLLECTION AT

THE ACADEMY OF FINE ARTS.

BARNES HAD GREAT FAITH IN HIS

NATIVE ABILITIES AND HIS EYE.

HE KNEW THAT HE WAS IN

THE MAJOR LEAGUES OF COLLECTING

THE GREATEST

POST-IMPRESSIONIST ART.

>> HE WAS PASSIONATE ABOUT

PICTURES AND PASSIONATE,

AND THERE WAS A PASSION IN

SHARING IT, TOO.

SHARING IT, TOO. [♪...]

[♪...]

>> Bond: THE ART CRITICS,

THE PHILADELPHIA INQUIRER

AND OTHER PEOPLE, THEY JUST

TRASHED THE COLLECTION.

SAID, "OH, THIS IS NOT ART,

THIS IS SCRIBBLING."

>> Anderson: IT WAS GREETED WITH

CAUSTIC OUTCRIES FROM THE

TRADITIONAL STUFFY PHILADELPHIA

ART CRITICS.

AND BARNES WAS DISMAYED.

I MEAN, HE WAS JUST DISMAYED

TO HAVE THESE PROVINCIAL YAHOOS

WHO THOUGHT OF THEMSELVES AS

SOPHISTICATED ART CRITICS

JUST DENOUNCE HIM.

I THINK IT MUST HAVE HAD

A PROFOUND INFLUENCE IN HIS

DEALINGS WITH THEM FOR THE REST

OF HIS LIFE.

>> Bond: HE DETERMINED THAT

NEVER, NEVER WOULD THEY

GET THEIR HANDS ON THIS ART.

[♪...]

[MUSIC CHANGES]

>> A PRINCIPAL REASON THAT HE

ESTABLISHED HIS FOUNDATION

WHERE HE DID WAS TO GET IT AWAY

FROM THE DOWNTOWN INTERESTS

IN PHILADELPHIA THAT RULED

THE CITY, FROM THE NEWSPAPER

TO THE, TO THE ART MUSEUM.

>> HE TALKS ABOUT IN ONE OF

HIS BOOKS, UH, RICH PEOPLE USING

ARTWORK AS UPHOLSTERY FOR

THEIR HOMES.

HE DIDN'T WANT THAT TO HAPPEN

WITH THIS.

THE OTHER ROBBER BARONS WERE

BUSY MAKING MONUMENTS TO

THEMSELVES.

BARNES WANTED TO MAKE SOMETHING

THAT WOULD EDUCATE.

SO HE USED HIS COLLECTION

TO FORM A SCHOOL.

HE REALLY WANTED TO BE TAKEN

SERIOUSLY AS AN EDUCATOR.

AND THAT THIS PROJECT BE SEEN

SERIOUSLY AS A REAL NEW STEP

IN MODERN EDUCATION.

DEWEY RECOGNIZED THAT.

HE WAS A VERY SERIOUS

PHILOSOPHER, ONE OF AMERICA'S

GREAT CONTRIBUTIONS TO

PHILOSOPHY AND EDUCATION,

REALLY EMBRACING WHAT BARNES

WAS DOING.

>> IF YOU'VE SPENT TIME AT

THE PLACE AND YOU'VE GOTTEN

A SENSE OF WHAT IT'S ABOUT,

YOU KNOW THAT IT'S A VERY, VERY

IMPORTANT PLACE.

AND IT'S NOT IMPORTANT JUST

BECAUSE IT HAS GREAT, GREAT

PAINTINGS.

THE ENTIRE THING IS THE

REALIZATION OF A SET OF IDEAS.

DR. BARNES CREATED THIS

PERFECTLY APPROPRIATE BUILDING

IN THE MIDST OF A BEAUTIFUL

GARDEN AND GROUNDS.

BARNES THERE ASSEMBLED WORKS OF

ART FROM ALL OVER THE WORLD

AND FROM ALL DIFFERENT TIMES AND

HE PUT THEM ON AN EQUAL PLANE.

AND HE ARRANGED IT IN SUCH A WAY

SO THAT THE ART SPEAKS TO

EACH OTHER IN A CERTAIN WAY.

IT SAYS SOMETHING ABOUT HUMANS

EVERYWHERE.

IT SAYS WE'RE THE SAME.

IT JUST SAYS THAT

AFRICAN-AMERICANS ARE NO

DIFFERENT THAN LATIN-AMERICANS

AND ASIANS.

WE EXPERIENCE LIFE IN, YOU KNOW,

IN THE SAME WAY.

WE SHOW IT IN DIFFERENT WAYS,

BUT THE BASIC FUNDAMENTAL

EXPERIENCE OF LIFE IS THE SAME.

THIS IS ONE OF THE MANY THINGS

THAT THEY SAY AT THE BARNES

FOUNDATION THAT MAKES SO MUCH

SENSE-- THAT ART ISN'T SOMETHING

SEPARATE FROM LIFE.

IT IS LIFE.

[BIRDS CHIRPING, ♪...]

>> Tinari: YEARS LATER,

THE ARTWORK HAD COME TO BE

RECOGNIZED AS IMPORTANT.

EVERYONE WAS SO OFFENDED THAT

THEY COULDN'T GO BECAUSE IT WAS

CLOSED ON A MONDAY AND...

"HOW DARE YOU, I'VE SHOWN UP

WITH MY CHAUFFEUR."

WELL, FUCK IT, BARNES DIDN'T

REALLY CARE ABOUT YOUR

CHAUFFEUR, HE HAD A SCHOOL

TO RUN AND HE SAW THAT VERY

SERIOUSLY.

[♪...]

>> THE HATRED OF BARNES IN

PHILADELPHIA WAS FIERCE.

>> PEOPLE DIDN'T LIKE HIM

'CAUSE HE INSULTED PEOPLE.

[♪...]

>> HE DIDN'T HAVE MUCH REGARD

FOR PHILADELPHIA SOCIETY.

[♪...]

>> OH, DR. BARNES WAS EXTREMELY,

UM, UH, INFLAMMATORY TOWARDS

HIS CONTEMPORARIES.

>> HE LIKED TO FIGHT, BUT

I DON'T THINK HE WOULD PICK ON

ANYBODY SMALL.

IT WAS ALWAYS...

>> Bond: SOMEBODY WOULD WRITE,

WOULD SAY, "I'M THE ART CRITIC

OF THE NEW YORK TIMES, CAN I

COME IN TO SEE THE ART?"

AND ALBERT BARNES WOULD WRITE,

"NO," AND HE'D HAVE HIS DOG

SIGN THE LETTER.

BUT IF YOU SAID, "I'M A PLUMBER

IN NEW YORK CITY AND I WANT TO

COME SEE THIS ART," HE'D SAY,

"O.K., COME IN."

[♪...]

>> Anderson: BARNES NEVER

FORGOT, NO MATTER HOW RICH

HE WAS, THAT HE'D GROWN UP A

POOR BOY IN TURN-OF-THE-CENTURY

PHILADELPHIA, AND THIS SET HIM

AT ODDS, NOT ONLY WITH THE ARTS

AND CULTURE COMMUNITY, BUT WITH

THE POLITICAL COMMUNITY.

HE WAS A NEW DEAL LIBERAL

DEMOCRAT.

THIS PARTICULARLY PUT HIM

AT ODDS WITH THE FAMILY THAT

OWNED THE PHILADELPHIA INQUIRER,

WHICH WAS CLUBBABLE AND, UM,

MUFFLED AND WASPY.

[♪...]

[MAN WHISTLING]

THE INQUIRER WAS THE ORGAN

OF MOSES ANNENBERG AND HIS SON,

WALTER ANNENBERG.

HERE IS A BONA FIDE PLUTOCRAT,

A RIGHT-WING NIXONIAN,

AS HE LATER WOULD BE, AMBASSADOR

TO THE COURT OF SAINT JAMES.

IT'S LIKE GONE BACK TO WEARING

KNEE BREECHES AND THESE

RIDICULOUS COSTUMES.

HOW MORE LUDICROUSLY RIGHT-WING

COULD YOU POSSIBLY BE?

THIS MAN WHO LIKED TO PHONE

RICHARD NIXON IN THE MIDDLE

OF THE NIGHT AND SHARE JOKES

TOGETHER.

>> BARNES AND HE WERE ALWAYS

AT ODDS, ALWAYS FIGHTING.

THE PHILADELPHIA INQUIRER WAS

ALWAYS ATTACKING ALBERT BARNES

FOR NOT OPENING IT TO THE

PUBLIC, NOT DOING THE THINGS

THEY THOUGHT IT SHOULD DO,

BUT HE DID THE THINGS HE THOUGHT

HE SHOULD DO.

AND IT WAS HIS ART.

WHY COULDN'T HE DO

WHAT HE WANTED?

>> Tinari: ONE OF THE PROBLEMS

WITH WALTER ANNENBERG IS HIS

FATHER WAS A GANGSTER, O.K.?

HE WENT TO JAIL FOR TAX EVASION,

WHICH IS WHAT ALL GANGSTERS

GO TO JAIL FOR UNLESS YOU CAN

REALLY CATCH THEM, YOU KNOW,

WITH THE KNIFE IN THEIR HAND.

>> Anderson: IN THE END,

THE FEDS AGREED TO GIVE HIS

YOUNG, CALLOW SON, WALTER, A

PASS IF THE OLD MAN COPPED OUT

AND TOOK A LONGER TERM.

SO HIS FATHER WAS SENT OFF

TO FEDERAL PRISON AND WAS ONLY

RELEASED AS HE WAS DYING OF

A BRAIN TUMOR.

AND THIS IS SOMETHING THAT

WALTER ANNENBERG NEVER FORGAVE

THE DEMOCRATS FOR.

IT WAS OFTEN SAID THAT ALBERT

BARNES REALIZED THIS LIFETIME OF

ANIMOSITY FROM WALTER ANNENBERG

BECAUSE HE SAID NASTY CRACKS

ABOUT MOE ANNENBERG AND HIS

INCOME TAX PROBLEMS AND,

YOU KNOW, THE RACETRACKS

BUSINESS AND THE MOB.

BUT THERE'S NO DOUBT THAT WALTER

ANNENBERG, WHO FOR MANY, MANY

YEARS WOULD DOMINATE THE WORLD

OF PHILADELPHIA JOURNALISM,

HATED ALBERT BARNES

WITH A PASSION.

[♪...]

BARNES WAS A VERY... VERY, VERY

SHREWD PERSON, AND ONE OF THE

THINGS THAT ALBERT BARNES

LEARNED WAS THE VALUE OF A GOOD

LAWYER, AND BARNES'S LAWYER IS

A MAN NAMED JOHN JOHNSON.

JOHNSON WAS A GREAT PATRON

OF THE ART, WHOSE ART TODAY

IS ONE OF THE CORNERSTONES

OF THE PHILADELPHIA MUSEUM

OF ART.

NOW, THIS, HOWEVER, WAS NOT

AS JOHNSON HAD WISHED IT TO BE,

I MIGHT SAY.

JOHN JOHNSON INTENDED HIS ART

TO BE SEEN AS A GALLERY IN HIS

HOME ON BROAD STREET

IN PHILADELPHIA.

>> Tinari: POOR JOHNSON HAD

SAID, "LOOK, I'M GONNA GIVE YOU

THIS COLLECTION TO LOOK AT.

PART OF THE BARGAIN IS,

YOU KNOW, KEEP MY END UP OF IT."

>> Anderson: WELL, AFTER HIS

DEATH, THE HOUSE WAS DEMOLISHED

AND THE PAINTINGS WERE MOVED

INTO THE PHILADELPHIA MUSEUM

OF ART, WHERE THEY HAVE BEEN

A CORNERSTONE EVER SINCE.

JOHNSON'S ART WAS, IN EFFECT,

LEGALLY STOLEN BY THE

PHILADELPHIA-- THE POWERS

THAT BE.

>> THEY ARGUED THAT THE BUILDING

WAS A FIRETRAP AND THAT THE

PAINTINGS WERE IN DANGER AND

THAT THEY'D BE MUCH BETTER OFF

IN THIS NEW BUILDING.

"LET'S GET THE PAINTINGS OUT OF

THERE AND BRING 'EM UP TO OUR

NEW MUSEUM."

SO, YEAH, HE GOT SCREWED.

>> Anderson: BARNES WAS SO

APPALLED BY THIS NAKED THIEVERY

THAT HE BECAME DETERMINED THAT

THE POLITICAL AND ARTS COMMUNITY

OF PHILADELPHIA WOULD NOT STEAL

HIS ART.

[♪...]

WELL, BARNES, AS HE ALWAYS DID,

HE TURNED TO THE BEST LAWYERS HE

COULD FIND TO DRAW UP HIS WILL.

THE GOAL HAD ALWAYS BEEN TO

KEEP THE BARNES FOUNDATION AS

A FREESTANDING EDUCATIONAL

MISSION, NOT TO FOLD THE BARNES

INTO THE PHILADELPHIA MUSEUM

OF ART, AND CERTAINLY NOT TO

TURN THE BARNES ITSELF INTO

AN ART MUSEUM.

AND IT WAS TO BE HOUSED

IN THE BUILDING THAT DR. BARNES

HAD PUT UP.

>> Tinari: SO HE WROTE THIS

VERY SORT OF RIGOROUS DOCUMENT.

HE SAID, "IT SHALL ALWAYS BE

PRESERVED AS AN EDUCATIONAL

INSTITUTION... IT CAN BE OPEN

TWO OR THREE DAYS A WEEK TO THE

PUBLIC, BUT FOUR OR FIVE DAYS

A WEEK IT SHALL BE SOLELY AND

EXCLUSIVELY OPEN TO STUDENTS

AND EDUCATORS OF ART...

THE COLLECTION SHALL NEVER BE

LOANED... THE COLLECTION SHALL

NEVER BE SOLD... THE DEMOCRATIC

NATURE OF THIS INSTITUTION SHALL

BE PRESERVED FOR ALL TIME."

>> HE TRIED TO CREATE A

COLLECTION THAT WAS PROOF

AGAINST COMMERCIAL EXPLOITATION.

IF IT REMAINS IN THE SAME PLACE,

IF IT SIMPLY HANGS ON A WALL, IF

IT CAN NEVER BE LENT, IF IT CAN

NEVER BE SOLD, THE COMMERCIAL

EXPLOITATION OF IT HAS A VALUE

OF ZERO.

>> Tinari: HE SOUGHT TO PRESERVE

THIS AS A SCHOOL, SOMETHING--

MAYBE NAIVELY-- IN PERPETUITY,

RIGHT, BUT ANYONE WHO EVER

WRITES A WILL-- ANYTHING LIKE

THIS-- THINKS IT'S GONNA GO

ON FOREVER.

ON FOREVER. [♪...]

[♪...]

>> Anderson: AND SO IT WAS

BARNES WAS IN HIS ROADSTER,

TRAVELING BETWEEN HIS COUNTRY

PLACE AND HIS HOME IN MERION,

WHEN HE WAS INSTANTLY KILLED.

[♪...]

>> IT WAS, IT WAS A SHOCK.

[♪...]

AND I THOUGHT, I ONLY HOPE

WE CAN KEEP THE SPIRIT OF

DR. BARNES'S IDEAS ALIVE.

>> Anderson: THE QUESTION THEN

ARISES, AS IT INVARIABLY DOES,

WHAT DID ALBERT BARNES INTEND

FOR THE CONTROL OF THE GREAT

FOR THE CONTROL OF THE GREAT BARNES ART COLLECTION?

BARNES ART COLLECTION?

BARNES ART COLLECTION? [♪...]

[♪...]

>> Woman: SO THEN HE DIED IN

1951, AND HERE WE HAVE VIOLETTE

DE MAZIA, ONE OF THE GREAT

CHARACTERS EVER, REALLY,

IN THE ART WORLD, WHO ORIGINALLY

CAME TO THE FOUNDATION TO GIVE

FRENCH CLASSES.

AND SHE BECOMES HIS RIGHT-HAND

PERSON, HIS GREAT SUPPORTER,

HIS COLLABORATOR, HIS DISCIPLE,

AND SHE'S IN CHARGE BASICALLY

FOR 30 YEARS.

>> Woman: AFTER DR. BARNES DIED,

SHE BECAME PRESIDENT AND SHE

RAN IT THE WAY IT HAD BEEN

RUN BEFORE.

>> Anderson: SHE WAS JUST

PASSIONATE FOR TEACHING.

SHE POURED HER LIFE INTO THIS.

>> WELL, HELL, IT WASN'T A JOB

TO MS. DE MAZIA, DR. BARNES

AND THOSE OF US WHO TAUGHT

THERE; IT WAS OUR LIFE.

WE WERE PAINTERS.

WE CARED ABOUT IT.

IT WASN'T JUST A JOB.

>> THROUGH THE BARNES TEACHING

AND MS. DE MAZIA TEACHING,

SO MANY HUNDREDS OF PEOPLE HAVE

SAID, "IT HAS CHANGED MY LIFE."

>> Man: ALL I CAN SAY IS

THE PEOPLE WHO TOOK THE COURSE

LOVED IT AND THAT, TO ME, WAS

A SATISFACTORY REASON TO

PERPETUATE THE BARNES AS IT WAS,

WHICH WAS A SCHOOL, NOT A

MUSEUM-- THAT'S VERY CLEAR IN

THE TRUST INDENTURE-- AND THAT

THE PAINTINGS WERE HUNG FOR

DIDACTIC PURPOSES, AND NOT

MERELY BECAUSE IT WOULD BE

THE CONVENIENCE OF PEOPLE

WALKING INTO A MUSEUM.

>> Anderson: WELL, ALMOST

IMMEDIATELY AFTER BARNES'S DEATH

THE FOUNDATION FOUND ITSELF

SUBJECT TO A FRONTAL ASSAULT BY

NONE OTHER THAN THE PHILADELPHIA

INQUIRER PUBLISHER,

MULTIMILLIONAIRE

WALTER ANNENBERG.

>> Tinari: ANNENBERG STARTS THIS

CAMPAIGN, "OH, THE BARNES

FOUNDATION IS NOT LETTING THE

PUBLIC IN.

THEY'RE VIOLATING THEIR, THEIR

TAX STATUS AS A CHARITY."

>> ANNENBERG HAD ALL THE MONEY

IN THE WORLD AND HE WAS

DETERMINED TO CRUSH THE BARNES,

AND HE DIDN'T DARE TRY TO CRUSH

THE BARNES WHEN THE OLD MAN WAS

STILL ALIVE AND WAS A TOUGH NUT

TO BEGIN WITH.

TO BEGIN WITH. [♪...]

[♪...]

>> Sefarbi: WHEN THEY OPENED UP

THE FOUNDATION, I NEVER KNEW

IT WAS IN THE WORKS.

THE DAY THEY OPENED IT,

SHE CALLED ME UP AND SAID,

"THEY'RE LETTING THE PUBLIC IN."

I THINK SHE WAS IN TEARS.

WELL, THESE PEOPLE CROWDED IN,

AND THEN ONE GUY WAS OUT

IN AN HOUR.

SAID HE SAW ENOUGH FAT LADIES

FOR A DAY.

AND THAT WAS,

THAT'S THE ART LOVER.

>> Tinari: ANNENBERG IS SEEN

AS THE GUY WHO GOT THE ATTORNEY

GENERAL AND THE STATE SUPREME

COURT TO MAKE THE BARNES

FOUNDATION BE OPEN TO THE PUBLIC

AT TIMES THAT IT WASN'T SUPPOSED

TO BE.

AND SO ANNENBERG IS SEEN AS

TAKING THE FIRST LITTLE CRACK

AT DR. BARNES' TRUST.

>> Sefarbi: ONCE EVERYBODY'S

DEAD, THEY'LL DO WHAT THEY WANT

AND NOBODY CARES ABOUT WHAT

IT WAS.

THAT'S WHY IT WAS IMPORTANT

TO ME TO EMPHASIZE THAT IT'S

A SCHOOL.

>> Tinari: WELL, I THINK HE

ALWAYS WAS WORRIED THAT THE

ARTWORK WOULD BECOME SO VALUABLE

THAT IT WOULD OVERPOWER HIS

EDUCATIONAL IDEAS.

>> YOU KNOW, PEOPLE SEE ART,

WHAT DO THEY THINK?

PAINTINGS, MONEY, TOURISM.

IT'S BECOME JUST THE NORM FOR

ART TO BE TRADED FOR BLOCKBUSTER

SHOWS, YOU KNOW, TO TRADE THE

ART, MOVE IT AROUND, YOU KNOW,

MAKE MONEY OFF OF IT, AND THERE

IS ALL THIS GREAT ART THAT

THE MUSEUM WORLD DOESN'T HAVE

ACCESS TO.

>> WE HAD REQUESTS FROM VARIOUS

MUSEUMS AROUND THE COUNTRY.

"WOULD YOU PLEASE LEND US

TWO PAINTINGS?

WE'LL PAY ALL THE COSTS

AND WE'LL SEND ARMED GUARDS

AND WHATEVER."

AND DE MAZIA SAID, RIGHT THERE

IN THE DOCUMENT, THE PAINTINGS

WILL NEVER BE REMOVED FROM THE

WALLS, ABSOLUTELY NO, NEVER.

DE MAZIA WAS CONSIDERED TO BE

THE LAST LIVING DIRECT APOSTLE

OF DR. BARNES AND HIS METHOD,

AND EVERYTHING WENT ACCORDING

TO MS. DE MAZIA'S WISHES.

>> THE ATMOSPHERE HAD ALWAYS

BEEN, "IT'S FOR THE CLASSES,

THIS IS WHAT IT'S FOR."

EVERYTHING ABOUT IT

WAS PERSONAL.

DE MAZIA WAS A REAL PERSONALITY.

IT WAS A HANDMADE THING IN A

MACHINE WORLD... AS LONG AS

SHE WAS ALIVE.

SHE WAS ALIVE. [♪...]

[♪...]

>> Pick: WHEN SHE DIED,

SHE WAS, AS I SAID, 89.

SHE DIED ON A FRIDAY

IN SEPTEMBER AT 1:40. [CHUCKLES]

>> Anderson: WELL, EVERYTHING

CHANGED BECAUSE MS. DE MAZIA

DIED, AND WITH HER DEATH THE

QUESTION THEN IS, WHOSE HANDS

WOULD INHERIT THE BARNES?

BARNES WAS MARRIED, BUT THEY

HAD NO CHILDREN, SO NO DOUBT

THE ACADEMY ASSUMED, NO DOUBT

THE UNIVERSITY OF PENNSYLVANIA

ASSUMED THAT THEY WOULD INHERIT,

EVENTUALLY, CONTROL OF

THE FOUNDATION.

HOWEVER, BARNES KEPT CHANGING

HIS WILL-- OF THIS, THERE'S NO

QUESTION-- BUT HE JUST DIDN'T

TELL ANYONE THIS.

>> Man: ALBERT BARNES CREATED

THE FOUNDATION WITH FIVE

TRUSTEES WITH THE POWER TO

CONTROL THE FOUNDATION.

AFTER THE LAST OF THE TRUSTEES

THAT HE HAD APPOINTED DIED,

ULTIMATELY THEY ELECT DE MAZIA.

NOW, THE RUB THEN BECAME,

"WHO GETS TO APPOINT THEM?"

>> AS EVERYONE KNOWS,

BARNES WAS A MISANTHROPE.

HE HAD HIS DELICATE EGO BADLY

BRUISED BY THE PHILADELPHIA

ESTABLISHMENT, AND HE HAD A LONG

AND DIFFICULT MEMORY.

>> Anderson: ULTIMATELY, HIS

WILL LEFT THE CONTROL OF THE

GREAT BARNES ART TO LINCOLN

UNIVERSITY.

>> Rawson: WHEN HE GOT LINCOLN

THERE, IT WAS JUST THE FARTHEST

POSSIBLE IMAGINABLE THING IN THE

SOCIAL SCENE AS IT THEN EXISTED.

>> Tinari: LINCOLN WAS, IF YOU

WERE A BLACK MAN IN AMERICA,

ONE OF THE PLACES TO GO TO GET

A REALLY QUALITY EDUCATION AT A

TIME WHEN THERE WAS SEGREGATION

AND WHATNOT.

>> Bond: MY FATHER WAS PRESIDENT

OF LINCOLN UNIVERSITY, AND HE

BEFRIENDED ALBERT BARNES,

AND FROM THAT FRIENDSHIP BEGAN

A RELATIONSHIP BETWEEN LINCOLN

UNIVERSITY AND THE BARNES

COLLECTION.

BARNES WAS ONE OF THOSE RARE

AMERICANS WHO WAS OPENHEARTED

ABOUT BLACK PEOPLE.

YOU KNOW, IN HIS FACTORY, HE HAD

AN INTEGRATED WORKING FORCE WHEN

ALMOST NO INDUSTRIAL OPERATION

IN THE WHOLE OF THE COUNTRY

HAD THAT.

AND HE THOUGHT MAYBE IN THE BACK

OF HIS MIND, "HOW CAN I STICK

MY FINGER IN THE EYES OF THE

PHILADELPHIA ART ESTABLISHMENT?

I'LL SHOW 'EM.

I'LL GIVE IT TO THIS LITTLE

BLACK COLLEGE."

>> WHETHER, YOU KNOW, HIS

LONG-RANGE OBJECTIVES WERE,

NUMBER ONE, JUST GETTING

REVENGE ON THE PHILADELPHIA

ESTABLISHMENT, I THINK HE SAID,

"BOY, YOU KNOW, I CAN TRUST

THESE PEOPLE.

THEY, THEY'RE NOT PART OF THAT

AWFUL ESTABLISHMENT THAT I HATE

SO MUCH."

[♪...]

>> Tinari: FAST FORWARD TO 1990,

LINCOLN IS THIS STATE SCHOOL

THAT DOESN'T GET ENOUGH STATE

FUNDING, THAT CAN'T RAISE ENOUGH

MONEY, AND IF YOU'RE THE TRUSTEE

OF LINCOLN, WHY WOULDN'T YOU

USE THIS NEW ASSET THAT YOU HAVE

TO RAISE SOME MONEY FOR YOUR

SCHOOL?

>> Anderson: FRANKLIN WILLIAMS,

THIS DIPLOMAT/LAWYER WAS MADE

THE PRESIDENT OF THE BARNES

FOUNDATION, AND HE REALLY

UNDERSTOOD, AS PROBABLY MOST

OF THE LINCOLN TRUSTEES DIDN'T,

THAT HE AND LINCOLN WERE

BECOMING CUSTODIANS

OF THE WORLD'S GREATEST

POST-IMPRESSIONIST

ART COLLECTION.

[♪...]

>> FRANKLIN WILLIAMS ESTABLISHED

AN ART ADVISORY COMMITTEE OF

NOTABLE PEOPLE FROM AROUND

THE COUNTRY IN THE ART WORLD.

>> Feigen: FRANKLIN WILLIAMS

WANTED TO PICK THE RIGHT PEOPLE,

SO I WENT BACK AND I DREW UP

A LIST WITH ALL MUSEUM PEOPLE

BUT VERY WELL-KNOWN ONES.

>> Man: LINCOLN UNIVERSITY FELT

IT REALLY SHOULD LOOK TO THE

OUTSIDE TO HELP IT FIGURE OUT

WHAT TO DO WITH THIS PLACE,

WHICH IS A PERFECTLY REASONABLE

THING FOR THEM TO HAVE DONE.

>> Bond: IT WOULD BE A RESOURCE

TO USE AS THEY CHOSE,

UNDERSTANDING THE TERMS AND

CONDITIONS OF BARNES' TRUST,

AND IT WOULD HAVE JUST MADE

BOTH OF THEM FLOURISH.

IT WOULD BE...

IT'S INDESCRIBABLE WHAT

MIGHT HAVE HAPPENED.

[♪...]

>> Anderson: ALSO ON THE LINCOLN

BOARD AT THIS TIME WAS THIS

INCREDIBLY AMBITIOUS LAWYER

NAMED RICHARD H. GLANTON.

HE HAS DESIGNS ON BEING MAYOR

OF PHILADELPHIA, MAYBE EVEN

SENATOR.

HIS AMBITIONS KNOW NO LIMIT.

GLANTON HAS ALREADY BEEN GOING

AROUND TELLING PEOPLE THAT HE'S

GOING TO RUN THE BARNES.

BUT AS I SAY, BETWEEN GLANTON

AND THE BARNES AND PERHAPS

MANY OF HIS OTHER AMBITIONS

IS FRANKLIN WILLIAMS.

WHAT NO ONE COULD HAVE

ANTICIPATED IS THAT ALMOST

IMMEDIATELY UPON BECOMING

PRESIDENT OF THE BARNES

FOUNDATION, DIPLOMAT/LAWYER

FRANKLIN WILLIAMS DISCOVERS

HE HAS A VERY VIRULENT FORM

OF CANCER AND WITHIN THE YEAR

IS DEAD.

IS DEAD. [♪...]

[♪...]

>> Glanton: WHEN I CAME THERE...

THE PERCEPTION WAS THAT THIS

DUMMY IS FRESH MEAT FOR US

TO DEVOUR AND HE'S JUST A SMART

POLITICAL GUY BUT HE DOESN'T

KNOW ANYTHING ABOUT ART, SO

WE'LL RULE WHILE HE REIGNS.

AND... [CHUCKLES]

I WAS NOT BORN THAT WAY.

[♪...]

>> Rawson: I GOT A CALL FROM

RICHARD GLANTON, WHO SAID,

"WHY DON'T I MEET YOU AT THE

UNION LEAGUE AND LET ME BUY YOU

LUNCH AND PICK YOUR BRAIN?"

SO I SAID, "SURE, WHY NOT?"

HE SAID, "I'VE GOT BIG PLANS

FOR THE BARNES.

WE'RE GONNA MAKE A LOT

OF MONEY."

AND I SAID, "WHY DO YOU

NEED MONEY?

WE'VE GOT THE ORIGINAL

$10 MILLION IN THERE.

IT'S YIELDING A COUPLE HUNDRED

THOUSAND A YEAR, MORE THAN WE

NEED TO RUN THE PLACE.

WHAT'S THE POINT OF

ALL OF THIS?"

AND GLANTON SAYS, "I'M GONNA PUT

THIS WHOLE THING ON THE MAP.

I'M GONNA DO WHATEVER IT TAKES

TO BUILD UP AS MUCH MONEY

AS I CAN GET.

DON'T WORRY, DAVE, I'VE GOT IT

ALL FIGURED OUT."

"OH, O.K., WELL, YOU KNOW,

IF THAT'S THE WAY YOU'RE

GONNA RUN IT...

YOU'RE A MAJORITY

OF THE TRUSTEES NOW.

BUT THANKS FOR LUNCH."

>> Glanton: MRS. DE MAZIA,

GOD BLESS HER SOUL, REALLY DID

THE BEST SHE COULD, BUT FOR 50

YEARS FOLLOWING BARNES'S DEATH,

OR 40 YEARS, THE MONEY WAS

MISMANAGED.

THE BUILDING HAD WATER

RUNNING IN IT.

ALL OF THE WINDOWS WERE

JUST ROTTING.

THE H.V.A.C. SYSTEM DIDN'T WORK.

>> WE GOT CONSERVATION PROBLEMS,

WE'VE GOT, YOU KNOW, WE NEED

CLIMATE CONTROL-- ALL OF WHICH,

FRANKLY, AS A MUSEUM PERSON...

SEEMED PERFECTLY REASONABLE.

AT THE TIME, WHEN WE WERE ON

THIS LITTLE COMMITTEE, IT WAS

VERY CLEAR THAT YOU COULD WORK

OUT A PLAN TO TRY TO RAISE

MONEY, 'CAUSE EVERYBODY

IN THE WORLD WOULD WANT TO

SAVE THE BARNES FOUNDATION.

SO THAT WAS WHAT WE SUGGESTED

AND THAT'S PRECISELY WHAT

RICHARD GLANTON, ET AL,

DID NOT WANT TO DO.

THEY WERE ABOUT TO FIGURE OUT

HOW TO DO SOMETHING THAT WAS

CLEARLY ILLEGAL AND UNETHICAL,

WHICH IS WHAT THEY DID.

[♪...]

>> Anderson: RICHARD LOVED BEING

PRESIDENT OF THE BARNES, AND HE

LOVED ALL OF THE SIDELIGHTS OF

THAT-- HOBNOBBING WITH THE RICH

AND THE FAMOUS, INCLUDING

MULTIMILLIONAIRE WALTER

ANNENBERG.

>> SO, I CALLED WALTER AND SAID

THAT, "I'D LIKE TO JUST TALK TO

YOU ABOUT MY IDEAS AT BARNES,"

AND HE SAID, "GREAT."

>> Knight: WALTER ANNENBERG,

WHO WAS A PIECE OF WORK,

WAS ALSO AN ART COLLECTOR.

FIRST-RATE COLLECTION, BUT

CERTAINLY NOT AN ADVENTUROUS

COLLECTION, CERTAINLY NOT AN

ADVENTUROUS THINKER.

>> Annenberg: IN THE LAST

SEVERAL MONTHS, I'VE HAD TWO

JAPANESE INTERESTS AFTER ME

TO SELL MY WHOLE COLLECTION.

MY ONLY RESPONSE HAS BEEN,

"YOU'RE DISCUSSING MEMBERS

OF MY FAMILY, AND I'M HARDLY

ABOUT TO SELL MEMBERS OF MY

FAMILY."

>> Anderson: COULDN'T BE

MORE IRONIC.

GLANTON AND WALTER ANNENBERG

HIT UPON THE IDEA OF SELLING

BARNES' ART.

>> I SAID, "I WANT TO RAISE THE

FUNDS TO RESTORE THE GALLERY

TO ENSURE THE LONG-TERM

PRESERVATION OF THE COLLECTION,

AND THE WAY THAT I WOULD DO THIS

WOULD BE TO DEACCESSION A NUMBER

OF PAINTINGS TO RAISE SUFFICIENT

CASH TO COVER THE COST OF THE

RESTORATION."

AND HE IMMEDIATELY SAID,

"THAT'S A GREAT IDEA."

>> Tinari: YOU KNOW, GLANTON

BASICALLY DID FOR ANNENBERG

WHAT HE WANTED TO DO.

HE MADE IT TOTALLY ACCESSIBLE

TO HIM, AND HE WAS GONNA RIP IT

APART FOR HIM.

UP UNTIL THEN, ANNENBERG WAS

COMING IN TRYING TO UNDO FROM

THE OUTSIDE.

NOW WHAT YOU HAD WAS TRUSTEES,

THE BARNES TRUSTEES FROM THE

INSIDE, THE BARNES BOARD ITSELF

WAS SAYING, "OH, WE'RE IN DIRE

FINANCIAL STRAITS.

WE NEED TO UNDO THIS INDENTURE.

LET US SELL THE COLLECTION."

[♪...]

>> Freudenheim: I HAVE NOTHING

AGAINST BUYING AND SELLING ART.

IF THERE'S NO LEGAL REASON

NOT TO DO IT, IT'S FINE.

DR. BARNES DID NOT SAY THAT WAS

O.K., AND THEREFORE IT ISN'T

DISCUSSABLE AS FAR AS I'M

CONCERNED.

>> Feigen: WE WERE OUTRAGED.

GLANTON DIDN'T CARE.

AND THEN WHEN WE OBJECTED...

HE FIRED THE WHOLE ART ADVISORY

BOARD.

>> THE RESPONSE OF THE ART WORLD

WAS FAST AND FURIOUS.

THERE WAS A HUGE UPROAR.

ANYBODY WITH ANY FAMILIARITY OF,

OF THE CULTURAL WORLD KNEW

THAT IT WAS ABSOLUTELY THE LAST

THING THAT ANYONE WITH ANY

KNOWLEDGE OF A CULTURAL

ORGANIZATION WOULD DO.

[♪...]

>> Tinari: SO, EVEN THOUGH

THERE WAS SORT OF A BIG PUSH

TO DO THAT, DIDN'T HAPPEN

BECAUSE THE MUSEUM COMMUNITY

GOT UP AGAINST IT.

>> HAVING NOW FAILED TO CONVINCE

EITHER THE COURT OR HIS PARTNERS

ON THE BARNES BOARD TO ALLOW HIM

TO SELL ART OR TO RENT ART OR

DE-ACCESSION ART, HE NOW COMES

UP WITH A MOMENT OF GENIUS.

[♪...]

>> Fleeson: WHEN RICHARD STARTED

PUBLICLY SAYING THAT THE

FOUNDATION HAD TO RAISE MONEY

AND THIS IS WHERE HE STARTED

THIS SUGGESTION... THE FIASCO

PLAN OF ANNOUNCING HE WOULD

SELL SOME OF THE ART... IN ORDER

TO JUSTIFY THAT, HE SAID,

"COME ON, I'LL SHOW YOU."

AND SO I TOOK A TOUR WITH HIM

FROM BASEMENT TO ATTIC OF THE

FOUNDATION AND WROTE A STORY

ABOUT IT.

>> AND SO DAY AFTER DAY, WEEK

AFTER WEEK, USUALLY WITH RICHARD

GLANTON AS THE HUMBLE BOY SCOUT

TAKING LUCINDA FLEESON, GIRL

REPORTER, THROUGH THE BOILER

ROOM AND ON TOP OF THE ROOF,

READERS OF THE INQUIRER WERE

TREATED TO THE SAGA OF THE POOR

OLD BARNES FOUNDATION... AND IT

WAS GONNA TAKE MILLIONS OF

DOLLARS TO FIX UP THE BARNES,

OTHERWISE THESE PAINTINGS WOULD

JUST... THEY WERE JUST GONNA

FALL OFF THE WALL.

>> Tinari: WE'RE WORKING

ON FEAR HERE, RIGHT?

WEAPONS OF MASS DESTRUCTION,

LEAKY ROOF.

IT'S FUNNY, BUT IT SOUNDS

LIKE THE JOHNSON STORY.

"THE BUILDING'S FALLING APART."

[♪...]

THAT WAS THE BEGINNING OF THE

STORY OF WHY WE CAN UNDERMINE

DR. BARNES'S WILL.

[ROCK MUSIC PLAYING...]

>> Anderson: THANK YOU TO

LUCINDA FLEESON AND THE

INQUIRER, HE HAS THIS MARVELOUS

EXCUSE TO PERSUADE THE COURT

THAT THE BUILDING IS IN SUCH

DISREPAIR THAT IT'S GOING TO

HAVE TO BE CLOSED DOWN FOR A

COUPLE OF YEARS.

"LET ME TAKE THE BARNES ART ON

TOUR AND CHARGE OTHER MUSEUMS

FOR THE PRIVILEGE."

>> AS A LAWYER, THERE IS A

PROVISION IN THE TRUST THAT

PROVIDED THAT IN FACT YOU COULD

CHANGE... IT'S CALLED CY PRES.

YOU CAN CHANGE A PROVISION IF

IT'S NECESSARY TO CARRY OUT THE

DONOR'S INTENT... TO THE LEAST

EXTENT POSSIBLE.

>> Tinari: IF YOU CAN'T DO

EXACTLY THE TERMS OF THE WILL,

THERE'S THIS, THE TERM,

FRENCH TERM CY PRES...

CY PRES C'EST POSSIBLE...

AS NEAR AS POSSIBLE

DO WHAT THE DONOR WANTED.

AND HOW IN THE WORLD

CAN THEY FUCKING THINK

THAT THIS IS NEAR AS POSSIBLE...

THIS IS EXACTLY WHAT HE

DIDN'T WANT.

EVERY... EVERY OUNCE OF IT

IS WHAT HE DIDN'T WANT.

>> Glanton: I WAS TOLD BY

EVERYBODY THAT IT COULDN'T BE

DONE, IT WOULDN'T BE DONE.

NOBODY WILL DO IT.

I SAID, "WELL... [CHUCKLING]

WE'RE GONNA DO THIS."

>> Man: ♪ ...YOU DO WHAT YOU

HAVE TO AND NOT WHAT

YOU'RE TOLD. ♪

YOU'RE TOLD. ♪ [♪...]

[♪...]

>> Knight: GIVEN THE QUALITY OF

THE COLLECTION, IT CREATED

HEADLINES WHEREVER IT WENT.

IT CREATED CROWDS WHEREVER IT

WENT AND IT CREATED MONEY

WHEREVER IT WENT.

AND ALL OF THAT WAS LIKE

SHOVELING COAL INTO THE FURNACE

UNTIL THE FIRE WAS RAGING.

[♪...]

>> Anderson: EVERYWHERE THE ART

WENT, RICHARD GLANTON WENT,

AND EVERYWHERE THAT RICHARD

GLANTON WENT, HE WAS HONORED.

>> Glanton: I WAS TREATED LIKE

A CONQUERING HERO IN PARIS AND

TORONTO AND FORT WORTH, TEXAS.

DINNER, SEATED AT THE TABLE

WITH PRINCESS DI.

AN INVITATION FOR HER

TO COME TO THE BARNES.

LETTERS FROM HER.

IT WAS LITERALLY UNBELIEVABLE.

I THINK IT WAS THE GREATEST

EXHIBITION IN THE HISTORY OF

WESTERN CIVILIZATION.

[♪...]

[MUSIC FADES...]

[PIANO AND ORCHESTRAL MUSIC...]

>> Anderson: THE BARNES ART

NOW RETURNED TO GREAT FANFARE

AND A... WELL, I WAS GONNA

SAY THE BIGGEST FINGER IN THE

EYE THAT YOU COULD IMAGINE,

BUT I THINK THAT WAS SAVED

FOR LATER, BUT...

[♪...]

A SHOWING AT THE PHILADELPHIA

MUSEUM... THE ARCHENEMY,

SATAN'S LAIR, REVELING IN THEIR

POSSESSION, TEMPORARY THOUGH

IT WAS, OF THE BARNES ART.

>> Tinari: THIS IS THE GREAT

SLAP TO BARNES WAS THAT "WE,

WELL, WE HAVE TO SHOW THE

PAINTINGS IN PHILADELPHIA, TOO."

WELL, WHY?

BASICALLY, IT RAISED A LOT OF

MONEY FOR THE ART MUSEUM.

THEY HAD A BIG BARNES SHOW

AT THE ART MUSEUM HERE AND,

AND THEY MADE A LOT OF MONEY

ON THE BACK OF IT.

>> Knight: EVERYBODY INVOLVED

IN THIS HAD THEIR OWN INTERESTS.

>> Anderson: THE ONLY PERSON

WHOSE INTEREST HAD NO CHAMPION

WAS ALBERT BARNES.

EVERYONE HAD ABANDONED HIM.

EVERYONE HAD ABANDONED HIM. [♪...]

[♪...]

>> Tinari: YOU KNOW, THE

PAINTINGS COME BACK FROM THE

TOUR AND GLANTON WANTS TO HAVE

THIS BIG PARTY.

GLANTON'S USING IT EXACTLY THE

WAY BARNES DIDN'T WANT IT TO BE

USED, WHICH WAS AS A SORT OF

SOCIAL BACKDROP THING.

I MEAN, WE'RE TALKING ALL THE,

LIKE, WEALTHY PEOPLE FROM

PHILADELPHIA WITH THEIR ROLLSES

AND ALL THIS STUFF CAME TO

THE PARTY... AND THEY'RE JUST

ALL UP AND DOWN TINY, LITTLE

LATCHES LANE.

>> Anderson: THE PHILADELPHIA

SWELLS CAME DOWN IN DROVES.

AND, ONCE AGAIN RICHARD GLANTON

BASKED IN THE REFLECTED GLOW

OF THE BARNES ART.

BUT WHAT HE DIDN'T RECKON WITH

WAS THE NEIGHBORS.

>> Man: CHAOS.

IT WAS ABSOLUTE CHAOS.

NOTHING HAD EVER HAPPENED

LIKE THAT IN THE 18 YEARS

WE HAD LIVED HERE.

WAS THIS THE FIRST OF MANY?

WAS THIS... OUR NEIGHBORHOOD

HAS NOW CHANGED TO THIS?

[♪...]

>> Man: THE BARNES FOUNDATION

HAS BEEN HERE FOR OVER 70 YEARS.

LIVED IN PERFECT HARMONY WITH

THE NEIGHBORHOOD FOR ALL THESE

YEARS... AND ALL OF A SUDDEN

IT BECOMES THE SUPER BOWL

VENUE FOR ART.

>> Woman on video: THIS IS FROM

QUEBEC ALSO.

THIS IS THREE BUSES TODAY

FROM QUEBEC.

>> Walter Herman: OUR

NEIGHBORHOOD WAS COMPLETELY

CLOGGED TOP TO BOTTOM FIVE DAYS

A WEEK, THOUSANDS OF PEOPLE

A WEEK WERE COMING AND PARKING

AND EATING ON MY LAWN AND

PARKING IN MY DRIVEWAY.

I MEAN, IT HAPPENED

TO ALL OF US.

>> Toby Marmon: MY KITCHEN SINK

FACES THE BARNES AND I GUESS I

SPEND HALF MY LIFE AT THE SINK.

SO EVERY TIME I SAW A BUS,

I WOULD RUN OUT WITH THE CAMERA

AND VIDEOTAPE IT.

...I DON'T KNOW HOW YOU

PRONOUNCE THAT, BUT THAT'S

HOW I FEEL.

...RICHARD GLANTON REFERRED

TO ME THAT HE WAS BEING

HARASSED BY THE K.G.B.

THAT WAS ME-- I FELT VERY

POWERFUL FOR A MOMENT.

>> Glanton: I'D BROUGHT THE

BARNES OUT OF THE DARK AGES

AND OPENED IT UP...

AND IT'S WEIRD THAT A FEW PEOPLE

REFUSED TO ACCEPT THAT.

>> Mitchell: WE WENT TO THE

TOWNSHIP TO SEE ABOUT

FAST-TRACKING PERMISSION TO

BUILD A PARKING LOT.

AND RICHARD VERY MUCH WANTED

THIS PARKING LOT FAST-TRACKED

AT THIS POINT.

>> YOU'RE OPERATING A COMMERCIAL

MUSEUM IN A RESIDENTIAL

NEIGHBORHOOD.

AND PUTTING A PARKING LOT IN, AT

THAT TIME, WOULD HAVE MADE IT

EASIER FOR YOU TO OPERATE

A COMMERCIAL MUSEUM IN A

RESIDENTIAL NEIGHBORHOOD.

>> Moderator: QUESTIONS?

>> Robert Marmon: WE WENT TO

A TOWNSHIP MEETING.

ALL THE NEIGHBORS WENT TO THE

TOWNSHIP MEETING AND PEOPLE MADE

SPEECHES AT THE MEETING.

I GOT UP AND IN MY SPEECH

I SAID I UNDERSTOOD NOW

HOW A CARPETBAGGER WORKS.

AND A CARPETBAGGER IS SOMEONE

WHO COMES IN FROM ANOTHER

JURISDICTION AND, IN FACT,

THEY CALL JUDGES CARPETBAGGERS

WHEN THEY DO THAT.

AND REFERRING TO MR. GLANTON AND

HIS MANAGEMENT TEAM, I REFERRED

TO MR. GLANTON AND HIS PEOPLE...

AND THAT WAS THE END OF IT.

>> Mitchell: THE TOWNSHIP SAID

THAT THEY COULDN'T FAST-TRACK

A PARKING LOT.

RICHARD WAS NOT HAPPY

WITH THAT RESPONSE.

>> IT WASN'T ABOUT THE CARS

OR THE TRAFFIC.

IT WAS ABOUT SOMETHING ELSE.

IT WAS ABOUT BEING HOSTILE.

I DON'T KNOW WHY.

YOU KNOW, I JUST SAID,

"THIS IS ENOUGH.

I MEAN, I'M JUST GONNA BRING

THIS LAWSUIT."

[♪...]

>> Robert Marmon: DR. HERMAN

BROUGHT ME TO HIS HOUSE AND HE

SAID, "BOB, I HAVE SOMETHING...

BUT I NEED YOU TO SIT DOWN."

I HAD NO IDEA WHAT HE WAS

TALKING ABOUT.

BECAUSE OF MY USE OF THE WORD

"CARPETBAGGER" AND "HIS

PEOPLE..." THEY USED THOSE

TWO PHRASES AS THE BASIS FOR

A CIVIL RIGHTS ACTION.

>> Anderson: GLANTON ORDERED

THE BARNES'S LAWYERS

TO BEGIN PREPARATIONS FOR A SUIT

AGAINST THE LOWER MERION

TOWNSHIP COMMISSIONERS AND

THE NEIGHBORS UNDER THE FEDERAL

KU KLUX KLAN ACT.

>> Nancy Herman: THEY ACCUSED US

OF CONSPIRACY WITH THE TOWNSHIP

TO DEPRIVE THEM OF THEIR RIGHTS,

BUT MOTIVATED BY RACIAL GROUNDS.

>> Robert Marmon: THE COMPARED

NOT ONLY ME, BUT THEY COMPARED

OTHERS OF US TO HITLER.

THEY SHOWED PICTURES OF, OF...

OF PEOPLE BEING LYNCHED IN

SOUTH CAROLINA AND ASSOCIATED

THAT WITH THE NEIGHBORS.

AND I'M THINKING, "WHAT THE...

DEVIL DID I DO?

I GOT UP AND I WAS CONCERNED

THAT I HAD BUSES AND I CAN'T GET

OUT OF MY DRIVEWAY.

WHAT AM I DOING HERE IN THE

MIDDLE OF SOMETHING LIKE THIS,

BEING CALLED HITLER?"

>> Anderson: ALL OVER

PHILADELPHIA AND LAW FIRMS

HITHER AND THITHER, THE LEGAL

FEES ON ALL SIDES MOUNTED.

AND THE BARNES'S ALREADY SKIMPY

ENDOWMENT WAS BEING DRAINED.

IT WAS JUST BEING DRAINED.

>> THEY GET ALL THIS MONEY SPENT

SENDING THE COLLECTION TO PARIS

AND TOKYO AND GOD KNOWS WHERE

AND... AND MADE A HUGE PILE OF

MONEY, WHICH THEN WAS ALL...

I DON'T WANT TO SAY PISSED AWAY.

I SHOULD SAY SOMETHING

MORE APPROPRIATE.

YOU CAN CUT THAT ONE OUT, O.K.?

>> Walter Herman: RICHARD

GLANTON THOUGHT THAT WE WERE

JUST GONNA FOLD AND SAY,

"WE DROP OUT.

WE'RE DROPPING OUT."

HE JUST PICKED

THE WRONG NEIGHBORS.

>> EVENTUALLY, THE ENTIRE CASE

WAS THROWN OUT.

JUDGE BRODY SAID THERE WAS NOT

ONE SCINTILLA OF RACIAL ANIMUS

IN ANY OF THE EVIDENCE THE

BARNES PRESENTED.

>> Walter Herman: IN THIS

PARTICULAR SITUATION,

THERE IS NOT EVER A COMMENT MADE

ABOUT US THAT DOES NOT...

PRECEDED BY THE WORD "HOSTILE".

>> THEIR P.R. FIRM HAS

MAINTAINED THAT WE

HARASSED THEM.

THE P.R. FIRM HAS MAINTAINED

THAT WE SUED THEM.

I MEAN, IF THAT'S WHAT PEOPLE

ARE GONNA BELIEVE, THAT WE

HARASS THEM AND THAT WE ARE

DEVIOUS, TERRIBLE PEOPLE...

WE'VE GIVEN UP TRYING.

>> Anderson: OVER A ZONING BOARD

ISSUE WAS THE KU KLUX KLAN ACT

INVOKED.

AND THE MISCHIEF THAT FOLLOWED

IS INCALCULABLE.

I MEAN, THUS THE WHOLE STORY

TURNS ON THE TALE OF A

52-CAR PARKING LOT.

THE PRESIDENT OF LINCOLN

UNIVERSITY IS DESPERATE TO GET

GLANTON OUT OF THERE, AND IN HER

FURY OVER THE DISMISSAL OF THE

KU KLUX KLAN SUIT, SHE PREPARED

A DRAFT LETTER TO THE TRUSTEES

OF THE BARNES FOUNDATION

SUGGESTING THAT IT WAS TIME TO

ROTATE THE PRESIDENCY.

>> Glanton: PEOPLE CAN HAVE

THEIR OWN VIEWS.

THEY'RE ENTITLED TO THEM.

BUT, UM... MY STORY IS THAT IT

WAS A SECOND REBIRTH OF BARNES

DURING MY TENURE AS PRESIDENT.

I TRIED TO DO SOMETHING

REAL QUICK THAT WAS DIFFERENT

BECAUSE IT HAD TO BE DONE.

AND I KNEW I HAD NO TIME TO MESS

AROUND BECAUSE...

WHAT WAS THAT DOG'S NAME?

CEREBUS? WHO GUARDS THE GATES

OF HELL?... WAS AFTER ME.

I HAD BEEN APPROACHED ABOUT

TURNING THE BARNES OVER TO...

THE PHILADELPHIA MUSEUM OF ART

ON AT LEAST TWO OCCASIONS, AND I

WAS APPROACHED ABOUT TURNING IT

OVER TO SOME OTHER INSTITUTIONS

ON OTHER OCCASIONS.

BUT I HAD NO INTENTION OF

REIGNING WHILE SOMEBODY ELSE

RULED... AND THAT WAS, IN THEIR

VIEW, THE END OF ME.

THEY LAID THE GROUNDWORK, SAYING

THE MONEY THAT WAS SPENT ON THE

LAWSUITS RUINED THE BARNES,

WHICH IS NOT TRUE.

IT HAD MORE MONEY THAN IT HAD

WHEN I CAME IN,

AND A NEW BUILDING.

>> CURIOUSLY, GLANTON SAID TO ME

AT THE TIME, UM, THAT, AND THIS

IS NOT QUITE HOW HE PUT IT,

BUT THAT HE WAS THE BULWARK

AGAINST THE ESTABLISHMENT

STEALING THE BARNES.

AND IN A PERVERSE WAY, I THINK

RICHARD GLANTON WAS ABSOLUTELY

CORRECT ABOUT THAT.

>> Glanton: I WAS JUST LIKE,

"O.K., HERE ARE THE KEYS.

GO DO YOUR MASTER'S BIDDING.

RUN IT INTO THE GROUND,

INTO A WALL."

AND LITERALLY, THAT'S WHAT I

WROTE THE ATTORNEY GENERAL.

I SAID, "THEY'RE GONNA RUN IT

INTO A BRICK WALL."

[♪...]

>> Man: I'M SURE I SAW

THE LETTER.

I'M NOT GONNA SAY THAT HIS

PREDICTIONS WERE ACCURATE,

PER SE...

BUT... ONCE HE LEFT, THERE WAS

NOT THE SAME LEVEL OF... DRIVE

WITH THOSE WHO REMAINED,

AND IN THE LONG RUN, I THOUGHT

THAT WAS GONNA CONTINUE TO

DRAG THE BARNES DOWN.

DRAG THE BARNES DOWN. [♪...]

[♪...]

[♪...]

>> Anderson: AND SO THERE WE

WERE, WITH THE BARNES BOARD,

MINUS RICHARD GLANTON, WITH THE

BARNES'S ALREADY PARLOUS

ENDOWMENT REDUCED TO

VIRTUALLY NOTHING.

>> Knight: BARNES FOUNDATION

WITHOUT ANY FUNDS, WITHOUT AN

EFFECTIVE LEADERSHIP, IS, YOU

KNOW, SITTING IN THIS BUILDING

AS A SITTING DUCK.

SO THESE FORCES BEGAN TO LINE UP

AND WORK TOWARDS SOMETHING THAT

HAD ABSOLUTELY NOTHING TO DO

WITH WHAT BARNES WANTED, WITH

THE AGREEMENT BETWEEN BARNES AND

THE STATE OF PENNSYLVANIA

EMBODIED IN A LEGAL DOCUMENT,

ALL OF THAT WAS SORT OF LEFT IN

A DRAWER WHILE, UM, POLITICIANS

AND BILLIONAIRES AND CULTURAL

AND BILLIONAIRES AND CULTURAL MAVENS AND FOUNDATIONS GOT BUSY.

MAVENS AND FOUNDATIONS GOT BUSY.

[♪...]

>> Anderson: THE BARNES WAS

GIVEN JUST ENOUGH MONEY BY THE

FOUNDATIONS SO THAT THEY COULD

CLAIM THAT THEY WERE TRYING TO

HELP THE POOR OL' BARNES OUT.

BUT THAT WAS NEVER, IN MY

OPINION, THE GOAL.

>> FOUNDATIONS ARE NON-PROFIT

CORPORATIONS.

WE'RE USED TO HEARING ABOUT

CORPORATE TAKEOVERS WITH

FOR-PROFIT CORPORATIONS.

BUT THIS WAS A NON-PROFIT

CORPORATE TAKEOVER.

AND THE FIRST THING YOU HAVE TO

DO IS REMAKE THE BOARD OF

TRUSTEES SO YOU HAVE A COMPLIANT

BOARD WHO IS ON YOUR SIDE.

>> Tinari: IN THE PERIOD AFTER

RICHARD GLANTON WAS OUT,

THE FOUNDATION WAS JUST SORT OF

PUTTERING ALONG.

IT WAS STILL CONTROLLED

BY LINCOLN.

FOUR OF THE FIVE BOARD MEMBERS

WERE LINCOLN BOARD MEMBERS.

THE PRESIDENT OF THE BOARD OF

TRUSTEES PUT ON THE BOARD BY

LINCOLN WAS BERNIE WATSON.

>> Anderson: WATSON WAS VERY

POLITICALLY CONNECTED, A

PROFESSIONAL FOUNDATION

EXECUTIVE... AND HE WAS

THE CHAIRMAN OF THE CITY

CONVENTION CENTER...

THE TOURIST BUREAU.

>> Tinari: IN THE MIDST OF THAT

STEPS UP THESE PHILADELPHIA

FOUNDATIONS.

THEY WERE GOING TO HELP THEM

RAISE, I THINK IT WAS

150 MILLION.

FROM THE VERY BEGINNING, PEW'S

THOUGHT WAS, "WELL, IF WE'RE

GONNA GIVE YOU MONEY, WE'RE

GONNA GET SOMETHING OUT OF IT.

WE WANT SOME CONTROL."

>> IT WAS PRETTY CLEAR TO ME

THEY WEREN'T JUST GONNA GIVE

50-, 70-, $100 MILLION

WITHOUT GETTING CONTROL

OF THE BARNES BOARD.

>> Tinari: WELL, IF YOU'RE

BERNIE WATSON, YOUR DUTY WAS TO

MAINTAIN A CONNECTION BETWEEN

BARNES AND LINCOLN BECAUSE THAT

WAS PART OF THE TRUST INDENTURE.

I MEAN, WHAT'S LINCOLN HAVE TO

OFFER FOR BERNIE WATSON?

HE MAKES HIS LIVING FROM THE

SORT OF INSTITUTIONS AND PEOPLE

WHO WANT THIS THING TO HAPPEN.

WATSON WENT AHEAD AND,

AND NEGOTIATED A DEAL

THAT CUT LINCOLN OUT.

THE ONLY WAY FOR A PEW OR ANY

FOUNDATION TO GET CONTROL, TO BE

ABLE TO PLACE BOARD MEMBERS, WAS

FOR THE INDENTURE TO BE CHANGED,

FOR THEM TO GO TO COURT

AND CHANGE THE RULES

THAT BARNES LAID DOWN.

LINCOLN DIDN'T HAVE A CLUE.

WATSON AND THESE PHILADELPHIA

FOUNDATIONS HAD A PLAN TO

BASICALLY PUSH THEM ASIDE.

RIGHT? THEY FLIPPED OUT.

THEY GOT AN ATTORNEY AND TRIED

TO INTERVENE AND STOP IT.

>> Anderson: THERE WERE ENOUGH

PEOPLE WHO WERE MAKING NOISES

THAT THE PLAN WAS STARTING TO

FALL APART TO THE POINT WHERE

MORE AGGRESSIVE TACTICS NEEDED

TO BE, UM... EMPLOYED.

>> Tinari: ED RENDELL, THE

GOVERNOR AT THE TIME, STARTS TO

PUT PRESSURE ON LINCOLN, O.K.?

HE'S THE GOVERNOR.

HE CONTROLS THE PURSE STRINGS OF

THIS STATE-AFFILIATED

INSTITUTION.

HE SAID, "WELL, LOOK, YOU KNOW,

LINCOLN, YOU COULD BE IN, YOU

KNOW, A ROSY POSITION IF YOU GO

ALONG WITH THIS THING.

WHAT HAVE YOU GOTTEN

OUT OF BARNES SO FAR?"

ALONG WITH RENDELL,

THE ATTORNEY GENERAL DECIDES

THAT HE'S GONNA HELP PRESSURE

LINCOLN A LITTLE BIT.

AND THE THING THAT HE HAS IS THE

ABILITY TO SAY, "YOU GET

NOTHING, LINCOLN, IF YOU GUYS

DON'T PLAY ALONG."

>> Fisher: I DON'T KNOW THAT WE

WERE EVER AS DIRECT AS SAYING,

"WE CAN TAKE THIS AWAY FROM

YOU," BECAUSE THAT WOULD TAKE

A COURT TO DO THAT, BUT...

I HAD TO EXPLAIN TO THEM THAT,

YOU KNOW, MAYBE THE ATTORNEY

GENERAL'S OFFICE WOULD HAVE TO

TAKE SOME ACTION... INVOLVING

THEM THAT MIGHT HAVE TO CHANGE

THE COMPLEXION OF THE BOARD.

AND WHETHER I SAID THAT DIRECTLY

OR I IMPLIED IT, I THINK THEY

FINALLY GOT THE MESSAGE AND WHEN

THEY SAY, YOU... MENTIONED IT,

IT WAS PORTRAYED THAT I WAS

THE BAD COP AND THE GOVERNOR

WAS THE GOOD COP.

UM, THE GOVERNOR HAD THE MONEY.

AND THE GOVERNOR HAD SOME MONEY

HE WAS WILLING TO ADD ONTO IT,

SO THAT AUTOMATICALLY MADE HIM

GOOD COP.

[♪...]

THERE WAS SOME MONEY PROPOSED

TO... FOR LINCOLN TO OFFSET SOME

OF THE PERHAPS PERCEIVED LOSSES

THAT THEY MIGHT HAVE.

>> AS I RECALL, IT WAS ABOUT

$40 MILLION.

AND I SAID, "YOU TELL ME

WHAT YOU WANNA SPEND THE

$40 MILLION ON."

[♪...]

>> Bond: THAT'S NOT A WHOLE LOT

OF MONEY TO SOME SCHOOLS, BUT

IT'S A WHOLE LOT OF MONEY TO

LINCOLN UNIVERSITY.

I THINK THAT WAS PART OF THE

PRICE OF LINCOLN LETTING GO.

>> THEY WEREN'T BLACKMAILED INTO

AGREEING WITH US AT ALL.

IF YOU ASK THE BOARD, I MADE IT

ABUNDANTLY CLEAR TO MR. SCOTT

AND OTHERS THAT THEY WERE

GETTING THIS MONEY REGARDLESS.

GETTING THIS MONEY REGARDLESS. [♪...]

[♪...]

>> Tinari: THEY PRESSURED THE

SHIT OUT OF 'EM.

AND IN THE END THEY CAVED.

WHAT THE PHILADELPHIA

FOUNDATIONS DID IS WHAT TAKES

PLACE ALL THE TIME IN THE

CORPORATE WORLD, WHICH IS TO

TAKE OVER THE BOARD BY ADDING

NEW POSITIONS ON THE BOARD.

YOU DON'T GO IN AND KILL ALL THE

BOARD MEMBERS THAT ARE THERE.

YOU JUST PUT 10 MORE ON

SO THAT THOSE FIVE NO LONGER

HAVE A MAJORITY.

WATSON NEGOTIATED A DEAL THAT

WATERED DOWN LINCOLN'S

PARTICIPATION IN THE MANAGEMENT

OF THE FOUNDATION.

YET, HE BETRAYED BARNES,

I THINK, FIRST.

BUT, YOU KNOW, TO THE EXTENT

LINCOLN PUT PEOPLE ON THE BOARD

THINKING, WELL, YOU KNOW,

YOU'RE GOING TO KEEP LINCOLN IN

THE PICTURE.

THE PICTURE. HE BETRAYED THEM, TOO.

HE BETRAYED THEM, TOO.

>> THEY SOLD LINCOLN UNIVERSITY

FOR A SHEKEL.

THEY SOLD IT DOWN THE CREEK.

AND THEY HAD NO RIGHT TO DO

THAT.

>> Bond: AND THE PHILADELPHIA

ESTABLISHMENT-- WHO HE

DETERMINED THAT NEVER WOULD THEY

GET THEIR HANDS ON THIS ART--

NOW HAVE IT IN THEIR HANDS.

>> FROM THE PUBLIC SIDE,

FROM WHAT, YOU KNOW, ME AND

EVERY OTHER NEWSPAPER READER,

THE FIRST THING WE GOT WAS, "OH!

ALL THESE FOUNDATIONS WANNA HELP

THE BARNES FOUNDATION."

>> Freudenheim: THE FOUNDATION

SAID, YOU KNOW, THEY'RE THERE TO

SERVE PUBLIC NEEDS, I MEAN,

THEY GET, THEY GET TAX BENEFITS.

SO THESE PLACES, WHETHER IT'S

PEW OR ANNENBERG OR

ANYBODY ELSE, THEY HAVE PUBLIC

RESPONSIBILITIES.

>> THE RESPONSIBILITY SHOULD BE,

"HOW DO YOU KEEP THIS GOING?"

NOT "HOW DO YOU EXPLOIT THIS?"

HOW DO YOU PRESERVE IT?

[♪...]

THEY DIDN'T SAY WHAT THEIR

REAL GOAL WAS.

WHAT WAS THEIR REAL GOAL?

WHAT WAS THEIR REAL GOAL? [♪...]

[♪...]

>> Woman: From NPR News,

this is All Things Considered.

I'm Michelle Norris.

>> And I'm Robert Siegal.

After two years of legal battles

one of the world's leading

collections of Impressionist art

is getting a new home.

Today a Pennsylvania judge

ruled that the Barnes Foundation

can move its collection from

the suburbs to a new gallery

in downtown Philadelphia.

[♪...]

>> Newscaster: Dr. Albert Barnes

made his fortune selling

pharmaceuticals.

He spent it acquiring paintings

by Matisse, Picasso, Renoir,

Cezanne and other masters.

But two years ago,

the foundation that oversees

the art announced it was broke.

Since it's prohibited from

selling any of the works hanging

in its Lower Merion gallery,

it asked for a court's

permission to move the art to

a new gallery in Philadelphia,

where it could draw more

visitors and raise more money.

Rebecca Rimel is C.E.O. of the

Pew Charitable Trusts, one of

three philanthropies that are

offering to raise $100 million

for a new gallery and 50 million

to replenish the foundation's

depleted endowment.

>> Rimel: The judge felt,

and of course we have felt, uh,

since the beginning that this is

not only honoring the donor's

intent, but making sure that

the collection will be available

for generations to come.

>> Newscaster: Barnes officials

were giddy today, but admitted

there was much work to be done

before the paintings leave

Lower Merion for good.

[BIRDS CHIRPING]

>> Rendell: THE FOUNDATION

BECAME FISCALLY IMPOSSIBLE TO

SUSTAIN IN ITS CURRENT LOCATION.

I THINK IT WAS THREE OR FOUR

EXECUTIVE DIRECTORS CAME IN

AND TRIED TO MAKE THE BARNES

FINANCIALLY SUSTAINABLE IN

LOWER MERION.

THEY FAILED.

>> THERE WERE VERY STRICT LIMITS

ON THE NUMBER OF PEOPLE WHO

COULD VISIT.

THE COMMUNITY WAS VERY HARD ON

BEING SURE THOSE LIMITS WERE

ADHERED TO.

>> YOU'VE GOT THIS MAGNIFICENT

COLLECTION BEING HIDDEN AWAY

FROM THE WORLD.

DOWN IN PHILADELPHIA, 10 TIMES

MORE PEOPLE A DAY CAN BE ABLE TO

SEE IT.

AND THEN IT'S TOO SMALL.

IT'S TOO SMALL.

THE BUILDING IS TOO SMALL.

>> Woman: THERE IS SUCH AN

EMPHASIS ON PRESERVING

THE ARTISTIC ENSEMBLE METHOD

THAT BARNES SEEMED TO FAVOR

OF HANGING AND ARRANGING HIS

PAINTINGS.

SO I THINK PEOPLE WILL THEN HAVE

THE KIND OF EXPERIENCE THAT HE

INTENDED.

>> AND THEN YOU HAVE

THE SECONDARY BENEFIT OF WHAT

THIS WOULD DO TO CONTINUE

PHILADELPHIA'S DRIVE TO BE

A GREAT TOURISM AND DESTINATION

CITY.

[Alarm clock rings]

>> ♪ There's so much to do,

so much to see ♪

♪ There's nowhere that

I'd rather be than Philly ♪

>> Chorus: ♪ Because Philly

>> ♪ 'Cause Philly's more fun.

>> Rendell: IF YOU WERE TO ADD

THE BARNES TO THE PARKWAY,

THERE ISN'T A COUPLE IN THE

UNITED STATES OR IN EUROPE

OR ASIA WHO'S INTERESTED IN ARTS

AND CULTURE WHO WOULDN'T COME TO

PHILADELPHIA FOR AT LEAST A LONG

WEEKEND.

>> Levitz: VISITORS HERE SPEND

OVER $17 MILLION A DAY.

SO IF YOU HAVE MORE VISITORS,

AND MY UNDERSTANDING IS THAT

EVEN LOOKING AT IT

CONSERVATIVELY, THE BARNES

LOCATED ON THE PARKWAY WOULD BE

ABLE TO ACCOMMODATE FOUR TIMES

AS MANY VISITORS PER YEAR.

SO YOU CAN START DOING THE MATH.

>> THIS COLLECTION SHOULD BE

SHOWN TO AS MANY PEOPLE AS

HUMANLY POSSIBLE IN THE BEST,

EASIEST-TO-GET-TO SETTING THAT

WE CAN DO.

THIS WAS ALWAYS A NO-BRAINER

FOR ME.

IT WASN'T A TOUGH DECISION

AT ALL.

>> Announcer: Book our two-night

package any day of the week

and see why Philly's more fun

when you sleep over.

[♪...]

[♪...] [MUSIC CHANGES]

[MUSIC CHANGES]

>> Zaller: THESE, I WOULD SAY,

ARE THE KEY PLAYERS INVOLVED,

THE KEY POLITICAL BACKERS AND

FINANCIAL BACKERS OF THE MOVE.

PRIMARILY, THE PEW CHARITABLE

TRUSTS AND ITS DIRECTOR,

REBECCA RIMEL.

UM, IN CONSORTIUM WITH-- OR,

AS I LIKE TO PUT IT--

AS PART OF A CABAL WITH

THE LENFEST FOUNDATION,

THAT'S GERRY LENFEST, WHO HAS

A POWERFUL CONFLICT OF INTEREST

AS THE CHAIRMAN OF THE TRUSTEES

OF THE PHILADELPHIA MUSEUM

OF ART.

AND SUPPORTED BY GOVERNOR

RENDELL AND MAYOR STREET

AND LEONORE ANNENBERG, THE WIDOW

OF THE LATE WALTER ANNENBERG,

WHO SPENT MUCH OF THE LAST PART

OF HIS LIFE TRYING TO GAIN

POSSESSION OF THE BARNES.

I'M SURE MANY AMONG THEM

BELIEVE SINCERELY THAT WHAT

THEY'RE DOING WILL BE FOR

THE GOOD OF PHILADELPHIA.

>> WE'RE GOING TO BUILD

A WORLD-CLASS CENTER FOR

THE FABULOUS BARNES COLLECTION,

WHICH HAS NO PEER ANYWHERE ELSE

ON EARTH.

AND I'M DELIGHTED TO BE HERE

TODAY WITH THE MAYOR

TO MAKE SURE THIS IS DONE IN

THE APPROPRIATE WAY WITH

INTELLIGENCE, WITH REASON,

AND COMPASSION.

[APPLAUSE]

>> D'arcy: MY FEELING ABOUT

PHILADELPHIA IS THAT IT DOESN'T

DO ITSELF JUSTICE.

SAYING WE NEED TO BE A

WORLD-CLASS CITY BY STEALING

AN ART COLLECTION AND BRING IT

DOWN TO WHAT I CALL A "McBARNES"

IN DOWNTOWN PHILADELPHIA.

>> THIS IS GONNA BE A GREAT

EVENT FOR THE CITY OF

PHILADELPHIA; IT WILL, IT WILL

ATTRACT LITERALLY TENS OF

THOUSANDS OF VISITORS, I'M TOLD,

IN A GIVEN YEAR.

THE BARNES COLLECTION ON THE

BENJAMIN FRANKLIN PARKWAY

WOULD HAVE THE ECONOMIC IMPACT

OF THREE SUPER BOWLS WITHOUT

THE BEER.

>> D'arcy: A CITY THAT HAS

ANY SENSE OF ITS OWN IDENTITY

DOESN'T TALK ABOUT BECOMING

A WORLD-CLASS CITY.

IT IS WHAT IT IS.

THIS IS THE WORLD CLASS OF,

YOU KNOW, OF CHEERLEADING,

OF PEP RALLIES AND OF BUILDING

A NEW BASEBALL STADIUM

OR A CONVENTION CENTER.

OR A CONVENTION CENTER. THAT'S NOT WHAT ART IS ABOUT.

THAT'S NOT WHAT ART IS ABOUT.

>> Raymond: I SEE THE PEOPLE

WHO ARE ATTEMPTING TO MOVE THE

BARNES FOUNDATION AS VANDALS.

TOURISM AND, YOU KNOW,

GENERATION OF MONEY, GREED.

AND THE BARNES FOUNDATION IS A,

IS AN UNFORTUNATE VICTIM OF ALL

THIS BULLSHIT...

WE'RE AT 20th AND THE PARKWAY

WHERE THEY INTEND TO BUILD

THE NEW BARNES FOUNDATION,

AND THEY'RE HAVING SOME KIND OF

PARTY HERE, THINKING THAT

THEY'RE GOING TO GO AHEAD

WITH THIS PLAN.

SO WE'RE HERE TO CONFRONT

THE PEOPLE WHO ARE PAYING FOR

THIS THING, SO WE JUST WANTED

THEM TO KNOW THAT IT'S

A BAD IDEA.

>> ATTENTION, EVERYONE,

ATTENTION.

WELCOME, WELCOME, WELCOME TO

THE PREDATOR'S BALL.

EVERYONE YOU SEE AROUND ME

AND BEHIND ME ARE PARTICIPATING

IN A CRIMINAL CONSPIRACY TO

BRING OFF THE GREATEST THEFT OF

ART SINCE THE SECOND WORLD WAR.

WHAT YOU ARE WITNESSING HERE,

LADIES AND GENTLEMEN, IS A THEFT

IN BROAD DAYLIGHT.

>> HERE'S THE GOVERNOR.

[CLAMORING AND CHANTING]

>> Man: YOU'RE A DICTATOR

AND YOU'RE NOT IN PHILADELPHIA

ANYMORE!

[CHANTING AND CLAMORING]

>> DISHONORABLE!

EDWARD G. RENDELL.

[OVERLAPPING CONVERSATION]

>> Woman: WE'RE IN AN ECONOMIC

CRISIS.

>> Man: THE WORLD IS LAUGHING

AT US.

BREAK THE TRUST...

>> Man: PLEASE DON'T BREAK

THE TRUST.

>> EXCUSE ME, EXCUSE ME.

>> ...NO INTEGRITY.

>> Woman: SHAME ON YOU!

[CLAMORING]

SHAME ON YOU!

SHAME ON YOU!

>> Tinari: WE'RE OUTSIDE

THE LOCATION WHERE THEY'RE

PLANNING TO PUT THE NEW

BARNES MUSEUM.

AND THEY'RE HAVING SOME SORT OF

A CELEBRATION OF THAT, WHICH IS

VERY ANNOYING.

PHILISTINES!

AND, UH, WE'RE JUST SORT OF

PROTESTING THEIR PARTY BECAUSE

A LOT OF THESE PEOPLE DON'T EVEN

REALIZE WHAT THEY'RE DOING:

DESTROYING A MAN'S WILL,

DESTROYING THIS COLLECTION,

WHICH HALF OF 'EM DON'T EVEN

HAVE A CLUE ABOUT.

HAVE FUN NOW!

WAIT TILL IT'S YOUR WILL!

BARNES WAS MARRIED, NEVER HAD

CHILDREN, NEVER HAD ANYONE

THAT COULD HAVE COME IN

AFTER THE FACT AND SAID, "HEY,"

YOU KNOW, "YOU SCREWED

MY GRANDFATHER OVER.

I WANT THE PAINTINGS."

THE GRANDCHILDREN WERE

THE STUDENTS WHO SHOWED UP

50 YEARS LATER.

>> TO ANYONE WHO'S FAMILIAR WITH

DR. BARNES'S WILL, EVERYTHING

THAT HE SAID DURING

HIS LIFETIME, THIS WILL BE

DESTRUCTIVE TO HIS CREATION.

I IMPLORE YOU TO VOTE NO.

>> Man: THE MOTION PASSES.

THANK YOU VERY MUCH.

>> Raymond: RIGHT NOW

THE FRIENDS OF THE BARNES IS

AN ORGANIZATION WITH ONE REASON

TO EXIST: TO PREVENT THE

RELOCATION OF THE GALLERY

ART COLLECTION.

>> IT'S SUCH A GREAT

ALL-AMERICAN STORY.

IT'S ALMOST A BARNESIAN STORY OF

THE HEROIC LITTLE GUY FIGHTING

THE FORCES OF CITY HALL AND

THE DOWNTOWN OLIGARCHY.

THAT'S WHAT BARNES WAS DOING.

>> YOU GET A CHOICE HERE.

YOU GET A CHOICE TO DECIDE TO

LISTEN TO THE FOLKS WHO LIVE

NEAR THE BARNES FOUNDATION,

THE PEOPLE WHO HAVE BEEN TO

SCHOOL AT THE BARNES FOUNDATION.

>> WE'RE GONNA BE HAPPY TO

HAVE IT, BUT THANKS FOR TRYING.

>> FRIENDS OF THE BARNES

APPROACHED THE COUNTY AND SAID,

"WE'RE STRUGGLING HERE.

WE'D REALLY LIKE YOU TO COME OUT

AND BE PART OF THIS FIGHT

TO SAVE THE BARNES IN MONTGOMERY

COUNTY," BUT I THINK IT WAS AT

THAT POINT THAT THE MOMENTUM

BEGAN TO BUILD, AND THAT THE

RESIDENTS OF MONTGOMERY COUNTY

HAD A FEELING THAT "WAIT A

SECOND, PHILADELPHIA CAN'T JUST

TAKE OUR ART."

>> So would the Barnes

Foundation, one of the world's

greatest art collections,

move from the suburbs to the

city of Philadelphia?

>> As Fox 29's Gerald Kolpan

explains, while it appears the

legal hurdles have been cleared,

some say, "Not so fast."

>> Kolpan: Montgomery County

and the local group,

Friends of the Barnes,

have retained counsel, saying

that if the Barnes board could

raise the money for the move,

they should have been able to

raise the same money to improve

the Barnes where it is.

There are still unknowns

in this case-- no one knows

just how much it'll cost

taxpayers, and no one knows

how hard Montgomery County

is willing to fight.

>> Man: I DON'T HAVE ANY RESPECT

FOR THE CULTURAL AND POLITICAL

ELITE OF PENNSYLVANIA.

YOU KNOW, THESE ARE GRADE B

PLAYERS WHO BASICALLY ARE DOING

TOURISM PROMOTION.

THIS IS THE DISNEYLAND OF

PAINTINGS.

THAT'S NOT WHAT DR. BARNES

WANTED.

MY PRIMARY GOAL IS TO REOPEN

THESE PROCEEDINGS BY FILING

A PETITION AND PERSUADING THIS

JUDGE THAT THERE WERE THINGS

THAT HE DIDN'T KNOW ABOUT.

THAT IF HE HAD KNOWN ABOUT THEM,

THAT THE OUTCOME WOULD HAVE

BEEN DIFFERENT.

WHAT HAPPENED IS THIS BECAME A

FEEDING TROUGH FOR POLITICIANS.

>> THE STORY IS THAT THE BARNES

HAS TO MOVE IN ORDER TO

BE SAVED.

IT'S NOT TRUE.

>> Raymond: PEOPLE WANTED IT TO

HAPPEN AND THEY ASSESSED

THE SITUATION, THEY SAW WHAT

NEEDED TO BE DONE TO MAKE IT

HAPPEN, AND THEY'RE POWERFUL

ENOUGH TO DO IT.

>> Carluccio: I'M CONVINCED

JUDGE OTT IS A WONDERFUL JUDGE,

AND HE'S GONNA DO THE RIGHT

THING, AND WHEN HE TAKES A LOOK

AT THIS HE'S GONNA FIND THAT,

YES, WE CAN SURVIVE IN

MONTGOMERY COUNTY, AND THAT'S

WHERE THE GALLERY BELONGS.

>> THE MOVE IS NOT A DONE DEAL.

AS FAR AS I'M CONCERNED, THIS IS

A DEAL COMING UNDONE.

[♪...]

[MUSIC CHANGES]

>> Feigen: IT WAS A COMBINATION

OF THE ESTABLISHMENT FORCES.

AND I THINK THEY FOCUSED ON IT

LIKE AHAB FOCUSED ON THE

WHITE WHALE.

AND I THINK THE OBJECTIVE

TOOK OVER, AND I DON'T THINK

THAT ANYBODY THERE THINKS ABOUT

BARNES OR ALTERNATIVES

OR CONSEQUENCES.

I THINK THAT THIS IS THE GLORY

THEY WISH TO CAPTURE.

>> THE REASON IT, IT WAS

PERMITTED TO MOVE TO

PHILADELPHIA WAS BECAUSE IT,

THE PRESENTATION BY THE

FOUNDATION SHOWED THAT IT WAS

FINANCIALLY NOT FEASIBLE TO STAY

IN MONTGOMERY COUNTY AND TO

SURVIVE.

>> IT WAS GOING DOWN THE TUBES,

AND THERE WAS NO SOLUBLE ANSWER

TO ITS PROBLEMS.

>> IF ANYBODY CAN'T FUND

THE BARNES, WHICH IS A TINY,

LITTLE BUDGET OUT OF THE PRIVATE

SECTOR... THEN THEY OUGHT TO

FIND ANOTHER JOB.

[BIRDS CHIRPING]

>> YOU CAN'T GET ENOUGH PEOPLE

IN BECAUSE OF THE RESTRICTIONS

AND THEN THE PARKING PROBLEMS,

THEY COULDN'T GET ENOUGH PEOPLE

INTO THE BARNES TO SEE IT

TO MAKE IT EVEN CLOSE TO

FINANCIALLY WORKABLE.

>> THE TRUTH IS THAT'S NOT

THE WAY IT IS ANYMORE.

LOWER MERION TOWNSHIP,

ON ITS OWN, DID GO AHEAD AND

THEY CHANGED THE ZONING

RESTRICTIONS.

THE TOWNSHIP WAS ABLE TO SAY TO

THE GALLERY, "YOU'RE ALLOWED TO

ADMIT MORE PERSONS PER DAY

AND OPEN THE GALLERY MORE DAYS

PER WEEK."

SO THERE IS REAL POTENTIAL HERE

TO BRING IN MORE REVENUE.

THERE WAS NO MOVEMENT WHATSOEVER

FROM THE FOUNDATION.

SO THEY DIDN'T ALLOW THEMSELVES

TO TAKE IN MORE VISITORS AND TO

GAIN MORE REVENUE.

AND THE SUPPOSITION IS

THE TRUSTEES LIKED IT THAT WAY

BECAUSE THEY DIDN'T WANT PEOPLE

TO FEEL THE EASE OF ACCESSING

THE BARNES FOUNDATION.

THAT THEY WANTED PEOPLE TO SAY,

"GET IT OUT OF THERE, BRING IT

TO PHILADELPHIA WHERE WE CAN

GET INTO IT."

THERE ARE A LOT OF WAYS

THIS GALLERY CAN REMAIN IN

MONTGOMERY COUNTY.

THERE WAS A, A DEAL OFFERED TO

THE FOUNDATION.

WE ESTIMATED $50 MILLION.

THE COUNTY WOULD FLOAT A BOND

FOR $50 MILLION, WHICH ENABLES

THE FOUNDATION TO HAVE AN

ENDOWMENT, AN ONGOING ENDOWMENT

THAT WOULD ALLOW IT TO REMAIN IN

MONTGOMERY COUNTY.

>> YOU KNOW, IN SIX WEEKS

THE BARNES FOUNDATION COULD HAVE

$50 MILLION IN THE BANK AND,

YOU KNOW, THEY COULD,

THEY COULD BE FINE.

>> Carluccio: THIS WAS ALL

OPENED UP TO THE FOUNDATION

FOR PURPOSES OF NEGOTIATION.

THERE'S A WAY WE CAN MAKE THIS

WORK.

WE HAD A RESPONSE BACK FROM

THE FOUNDATION OUTRIGHT SAYING,

"WE'RE NOT INTERESTED IN THIS."

THERE'S GOTTA BE A REASON THAT

THEY'RE NOT INTERESTED IN

RESPONDING TO THAT.

>> THEY NEVER WANTED TO RAISE

MONEY.

THEY WANTED THIS PLACE

TO GO BUST.

THEY WANTED IT TO GO BUST

SO THAT THEY WOULD HAVE A REASON

TO BRING PEOPLE IN,

TO DISSOLVE THE INDENTURE

BECAUSE THEY COULD THEN ARGUE

THAT THEY COULDN'T OPERATE ON

THE BASIS OF THE INDENTURE,

AND THEN THAT WOULD GIVE, THEY

COULD DO IT WITH IMPUNITY

AND THEN GET AUTONOMY TO OPERATE

THE WAY THEY WANTED.

>> SO ANYBODY THAT TELLS ME

THERE WASN'T THE MONEY TO

KEEP IT WHERE IT IS...

IS NONSENSICAL.

THE FORCES WANTED IT MOVED

NO MATTER WHAT.

[♪...]

>> IT'S FAIR TO SAY THAT THERE

WAS A VAST CONSPIRACY TO MOVE

THE BARNES.

THIS OBVIOUSLY INVOLVED

THE THREE LEAD FOUNDATIONS,

THE POLITICIANS... MAYORS,

GOVERNORS, STATE SENATORS.

EVERYBODY ON THAT SIDE OF

THE EQUATION WAS POWERFUL

AND THEY HAD SOMETHING TO GAIN.

I THINK THE REAL QUESTION IS,

I'VE ALWAYS SAID IS, "WHEN DID

THE PLANNING FOR THIS TAKEOVER

FIRST BEGIN, AND WHO WAS

THE LEAD FIGURE?"

THAT'S THE STORY THAT NO ONE'S

REALLY TOLD.

REALLY TOLD. [MUSIC SLOWS, THEN REVERSES...]

[MUSIC SLOWS, THEN REVERSES...]

[♪...]

>> Knight: IN 1995, AFTER

SENDING THE COLLECTION ON TOUR,

THE PAINTINGS CAME BACK TO

MERION.

THERE WAS A GALA DINNER

TO CELEBRATE THIS AT WHICH A

LOCAL BILLIONAIRE, RAY PERELMAN,

HAD A LITTLE IDEA.

>> Rendell: A MAN BY THE NAME OF

RAY PERELMAN, WHO WAS THEN,

I THINK, CHAIRMAN OF THE BOARD

OF THE ART MUSEUM, CAME TO SEE

ME PROBABLY IN THE MIDDLE OF

MY EIGHT YEARS AS MAYOR,

AND SUGGESTED THAT I GET ACTIVE

IN TRYING TO CONVINCE THE STATE

TO MOVE THE BARNES FOR... THE

ART MUSEUM WANTED TO, OBVIOUSLY,

TO RUN IT, THE BENEFITS TO

THE CITY OF PHILADELPHIA,

ET CETERA, ET CETERA, ET CETERA.

SO THAT WAS PROBABLY '95, '94,

'96, IN THAT AREA.

>> MY ONLY PERSONAL CONTACT

WITH RAY PERELMAN WAS TO HAVE

HIM SCREAM AT ME OVER THE PHONE

WHILE AT THE SAME TIME

TAKING CREDIT FOR THE DECISION

TO MOVE THE BARNES TO DOWNTOWN

PHILADELPHIA.

RAY PERELMAN IS A NASTY OLD MAN.

SPELL MY NAME RIGHT AND MAKE

SURE HE KNOWS THAT I'M THE ONE

WHO SAID THAT.

BARNES DID SOMETHING THAT THEY

WILL NEVER BE ABLE TO DO.

RAY PERELMAN DOES NOT HAVE

AN EYE FOR ART.

HE NEVER WILL.

AND I CAN UNDERSTAND HE FEELS

BAD ABOUT THAT.

HE CAN'T DO MUCH ABOUT IT

BESIDES TAKE IT OUT OF THE HANDS

OF THE BARNES FOUNDATION.

[♪...]

PART OF WHAT PERELMAN WAS TAKING

CREDIT FOR WAS CONVINCING ANYONE

WITH ANY POWER IN PHILADELPHIA

TO EITHER SIDE WITH HIM OR

NOT TO OPPOSE HIM.

IS THAT A CONSPIRACY?

I DON'T KNOW.

ONE MAN'S CONSPIRACY IS ANOTHER

MAN'S POLITICAL CONSENSUS.

>> Fruedenheim: WHY WOULDN'T

THE GREAT FOUNDATIONS OF

PHILADELPHIA WANT TO SAVE

THE BARNES FOUNDATION EXACTLY

WHERE IT IS?

I MEAN, THEY ARE PHILADELPHIA

INSTITUTIONS.

THEY SHOULD WANT TO PRESERVE

A PHILADELPHIA INSTITUTION AS

A REALLY ORIGINAL INSTITUTION.

WHY WOULDN'T THEY WANNA DO THAT?

>> Newscaster: One of the

nation's largest private

foundations is now a charity.

The Pew Charitable Trusts

control $4 billion in assets.

The change in status will save

Pew millions of dollars in taxes

and it will have fewer

restrictions on how it can spend

its money...

>> Anderson: ONE OF THE OTHER

THINGS WE DIDN'T KNOW WAS THAT

PEW WAS IN THE PROCESS OF

CONVERTING ITSELF FOR

TAX REASONS FROM A PRIVATE

CHARITY INTO A PUBLIC CHARITY.

>> ONE THING THAT A PUBLIC

CHARITY HAS TO DO IS DEMONSTRATE

THAT IT HAS THE CAPACITY

TO RAISE MONEY...

VERY LARGE SUMS OF MONEY.

>> Man: PEW also cited another

potential tourist draw:

a new building for the Barnes

Foundation in downtown

Philadelphia.

PEW's C.E.O., Rebecca Rimel,

says the new charity could not

only raise money for the move,

but administer those funds

at no cost to the project.

>> Rimel: The Barnes was one

example of what we could do as

a public charity that we can't

do as a private foundation.

>> Knight: COINCIDENTALLY,

PEW STEPPED FORWARD AND SAID,

"WE WOULD BE HAPPY TO BE

THE LEAD FOUNDATION TO ASSEMBLE

THE FUNDS TO FACILITATE THE MOVE

OF THE BARNES FOUNDATION."

>> Rimel: Our application

to become a public charity

had absolutely nothing to do

with the Barnes.

>> Raymond: YOU KNOW, IN COURT,

REBECCA RIMEL SAID, "OH,

YOU KNOW, THE BARNES FOUNDATION,

THAT'S NICE, BUT THAT'S NOT

WHY WE DID IT."

WELL, YOU GO LOOK AT THEIR

APPLICATION TO THE I.R.S.,

THAT'S ALL THEY TALK ABOUT

IS THE BARNES FOUNDATION.

>> Anderson: IN ITS FILINGS WITH

THE I.R.S. AND THE COMMONWEALTH

OF PENNSYLVANIA, IT SPECIFICALLY

ALLUDES TO BEING THE LEADING

FORCE BEHIND MOVING THE BARNES

ART INTO PHILADELPHIA.

>> Rawson: LOOK, CHARITY IS

BIG BUSINESS.

IF YOU'RE REALLY IN IT

FOR ALTRUISM, YOU'RE GONNA BE

A PINK LADY IN THE HOSPITAL,

YOU'RE GOING TO BE, YOU KNOW,

GOING OUT FEEDING THE POOR FROM

YOUR CHURCH'S OUTREACH GROUP.

THESE PEOPLE ARE POWER BROKERS.

DON'T FOR ONE MINUTE THINK THAT

IF REBECCA RIMEL FINDS THAT,

"WELL, I NOW HAVE 400 MILLION

A YEAR TO GIVE AWAY AND

MANIPULATE VARIOUS THINGS IN

THE STATE OR IN THE CITY WITH

WHAT CLOUT I HAVE, BOY, CAN YOU

IMAGINE HOW MUCH CLOUT I'LL HAVE

WITH A BILLION A YEAR TO

GIVE AWAY INSTEAD OF ONLY

400 MILLION?"

[♪...]

>> AND I MIGHT ADD IT WAS IN

THE FILINGS THAT FOR THE FIRST

TIME WE DISCOVERED THAT PEW

HAD NOW ESTIMATED THAT THE VALUE

OF THE BARNES ART WAS NOT,

AS GLANTON HAD THOUGHT,

FOUR AND A HALF BILLION,

OR I HAD THOUGHT, SIX AND HALF

BILLION.

BUT ACCORDING TO THE PEW, IT WAS

$25 TO $30 BILLION WORTH OF ART.

THE THREE FOUNDATIONS NEVER SAID

THAT THEY WOULD GIVE

150 MILLION.

THEY SAID THEY WOULD RAISE

150 MILLION.

EVEN IF THEY GAVE 150 MILLION,

IT'S THE GREATEST BARGAIN MAYBE

IN THE HISTORY OF THE ART WORLD,

TO GET $25 BILLION WORTH OF

IRREPLACEABLE POST-IMPRESSIONIST

MASTERPIECES FOR WHAT FOR THEM

IS A DROP IN THE BUCKET.

[♪...]

>> ON A FRIDAY IN

OCTOBER OF 2006, I GOT

AN E-MAIL...

FROM SOMEONE WITHIN THE FRIENDS

OF THE BARNES SAYING THAT

SQUIRRELED AWAY IN THE 2001-2002

BUDGET OF THE STATE OF

PENNSYLVANIA WAS $107 MILLION--

$7 MILLION FOR UPGRADES OF

THE MERION PROPERTY,

$100 MILLION FOR THE MOVE

DOWNTOWN.

DOWNTOWN. [♪...]

[♪...]

>> IT'S AMAZING TO ME THAT

IN THE CASE I CALLED THE

APPROPRIATION "THE IMMACULATE

APPROPRIATION," BECAUSE IT HAD

NO FATHER OR MOTHER.

NOBODY KNOWS WHO ASKED TO PUT

THE MONEY IN.

SO MAYBE IT WAS DIVINE

INSPIRATION, WE DON'T KNOW.

>> Man: THE BUDGET BILL IS A

VERY THICK PIECE OF LEGISLATION,

AND 99% OF THE OTHER MEMBERS OF

THE GENERAL ASSEMBLY, I'M SURE,

DIDN'T KNOW WHEN THEY VOTED ON

THAT CAPITAL BUDGET BILL THAT

PARTICULAR PROJECT WAS IN THERE.

>> IT WAS NEVER PUBLICIZED,

THE JUDGE DIDN'T KNOW,

BUT THE PEOPLE WHO WERE TRYING

TO TAKE OVER THE FOUNDATION,

WITHIN THAT GROUP OF PEOPLE...

IT'S, IT WOULD BE UNBELIEVABLE

THAT NOBODY KNEW.

THE RESCUE OPERATION SAID,

"WE WILL RAISE $100 MILLION TO

BUILD A NEW BUILDING IN DOWNTOWN

PHILADELPHIA FOR THE BARNES

FOUNDATION."

THE STATE BUDGET ALLOCATED

$100 MILLION TO BUILD A NEW

BUILDING FOR THE BARNES

FOUNDATION IN DOWNTOWN

PHILADELPHIA.

WHAT A COINCIDENCE.

A SHOCKING COINCIDENCE.

>> Tinari: ALL THE BIG MONEY

PEOPLE CONNECTED WITH THIS

PROJECT, YOU CAN'T TELL ME THAT

NOBODY KNEW THE $100 MILLION

WAS IN THE BUDGET.

SOME SENATOR DIDN'T WAKE UP AND

DECIDE I'M JUST GONNA DO THIS.

SOMEBODY WITH INFLUENCE GOT THAT

PUT IN THERE.

WHOEVER THAT PERSON WAS,

OR PEOPLE OR INSTITUTION,

NEVER LET ON IN COURT THAT

THAT MONEY WAS AVAILABLE.

HERE YOU COME TO COURT AND YOU

SAY, "WE'RE BROKE, THERE'S NO

OTHER WAY WE CAN RAISE

THE MONEY, WE GOT TO MOVE

THIS COLLECTION."

HAD THE JUDGE KNOWN THAT, OH,

THE STATE COULD PUT UP

$100 MILLION, WOULD HAVE BEEN

A WHOLE 'NOTHER STORY.

>> Schwartz: REBECCA RIMEL

PROFESSES, "WE DIDN'T HAVE

ANYTHING TO DO WITH IT," O.K.?

BUT ALL THESE PEOPLE THAT WOULD

BE THE BENEFICIARIES, I MEAN,

YOU HAVE TO UNDERSTAND...

THE PEW TRUSTS, AT THE SAME TIME

THAT THIS IS GOING ON,

FILED FOR PUBLIC CHARITY STATUS.

BUT IN ORDER TO SHOW THAT YOU'RE

A PUBLIC CHARITY, YOU HAVE TO BE

GETTING MONEY FROM THE PUBLIC.

>> THE PEW CHARITABLE TRUST AT

THE TIME WAS WORTH $4 BILLION.

WHO IN THEIR RIGHT MIND

IS GONNA GIVE MONEY TO

A $4 BILLION FOUNDATION?

>> Gerlach: APPARENTLY FOR SOME

REASON, GOVERNOR RENDELL

HAS TAKEN THE POSITION THAT

THIS IS AN IMPORTANT PROJECT

FOR THE CITY OF PHILADELPHIA,

AND HAS ALLOCATED 25 MILLION

OF TAXPAYER MONEY OUT OF THAT

100 MILLION AUTHORIZATION

FOR THE PROJECT.

>> Schwartz: ONE OF THE NEAT

THINGS IF YOU'RE A PUBLIC

CHARITY IS YOU CAN ADMINISTER

MONEY FROM ALL SORTS OF PLACES,

INCLUDING THE COMMONWEALTH OF

PENNSYLVANIA.

PEW GETS CREDIT FOR THAT AS

"WE RAISED PUBLIC MONEY."

THAT COUNTS TOWARDS THEIR

TAX STATUS.

I'M NOT QUITE SO NAIVE AS TO

BELIEVE THAT NO ONE KNEW ABOUT

$107 MILLION.

MAYBE IT WAS A TYPO.

I DON'T KNOW.

BUT SHE DIDN'T KNOW ANYTHING

ABOUT THIS.

>> PEOPLE INVOLVED IN

THE TAKEOVER OF THE BARNES

FOUNDATION KNEW THAT IT WAS

THERE AND KEPT THAT INFORMATION

FROM THE COURT.

>> IS THAT A LYNCHPIN? YEAH.

IT'S LIKE, WHAT ARE THE

SURROUNDING CIRCUMSTANCES

THAT SHOULD HAVE BEEN BROUGHT TO

THE ATTENTION OF THIS JUDGE?

IF I HAD BEEN A JUDGE-- WHICH

PROBABLY NO ONE WOULD LIKE--

I WOULD HAVE, IF I HAD LEARNED

ABOUT THIS, I'D SAY,

"YOU KNOW WHAT?

THESE PROCEEDINGS ARE RECESSED."

THE PARTIES SHOULD GO FIGURE OUT

HOW TO GET A PIECE OF THAT MONEY

TO KEEP IT RIGHT HERE.

>> Knight: IF I WAS JUDGE OTT,

I'D BE FURIOUS.

I'D BE LOOKING FOR A WAY

TO TURN THIS THING AROUND.

BECAUSE HE GOT TAKEN FOR A RIDE.

I DON'T KNOW MANY JUDGES THAT

LIKE TO GET DUPED IN THEIR

COURTROOMS.

I DON'T KNOW MANY JUDGES THAT

LIKE TO BE MADE FOOLS OF.

JUDGE OTT WAS MADE A FOOL OF

BY THESE PEOPLE.

[BIRDS CHIRPING]

>> Bond: SO YOU SEE ALL THESE

INTERLOCKING RELATIONSHIPS

AND IF I WERE A CONSPIRATORIAL

FIGURE, I'D THINK AN ENORMOUS

CONSPIRACY IS AT WORK HERE...

OF MONEYED INTERESTS TO HAVE

THEIR WILL, TO HAVE THEIR WAY,

TO MANIPULATE THE TREASURY OF

THE STATE OF PENNSYLVANIA,

TO MANIPULATE THE LEGAL SYSTEM

OF PENNSYLVANIA,

TO MANIPULATE DR. BARNES'

DESIRES AND WISHES,

TO MANIPULATE LINCOLN

UNIVERSITY, TO PLAY ON THIS

NEEDY, LITTLE COLLEGE

SO DESPERATE FOR MONEY

AND KNOW THAT 50 MILLION

WOULD BLIND THEIR EYES TO WHAT

WAS REALLY IN THEIR GRASP.

>> I JUST THINK THEY WANTED TO

CAPTURE THE PRIZE,

AND THE WHOLE ESTABLISHMENT

MOBILIZED TO THAT END.

THEY DON'T LIKE TO HAVE

THE WHOLE THING QUESTIONED.

I THINK THEY'RE USED TO GETTING

THEIR WAY AND THIS IS THE WAY,

AND IF YOU QUESTION IT,

YOU'RE STANDING IN THE WAY.

>> [MAN SPEAKING]

>> IF ANY MAJOR FIGURE WITHIN

THE PHILADELPHIA ART WORLD

WANTED TO SPEAK AGAINST

THIS IDEA, THEY COULD KISS THE

PEW CHARITABLE TRUST GOOD-BYE,

THEY COULD KISS THE LENFEST

FOUNDATION GOOD-BYE,

THEY COULD KISS THE ANNENBERG

FOUNDATION GOOD-BYE,

PERHAPS THEY COULD KISS

THEIR OWN JOB GOOD-BYE.

NO ONE COULD SPEAK.

>> Man: OUTSIDE THIS PROPERTY

YOU ARE ALLOWED TO DO.

>> Man 2: YEAH, BUT THE NEWS

IS IN HERE, RIGHT?

>> SIR, THAT'S ALL I'M ASKING.

>> I'M ASKING, I'M JUST

ASKING A QUESTION.

>> AND I'M, AND I'M

TELLING YOU AN ANSWER.

>> YOU'RE NOT GIVING

ME AN ANSWER, YOU'RE JUST...

ARE NEWS CREWS ALLOWED IN OR NO?

>> Woman: IF THE NEWS ARE

ALLOWED IN, THOUGH...

AND WE ARE PART OF THE PRESS,

THEN WE SHOULD BE ALLOWED INSIDE

WITH THE REST OF THE PRESS.

>> Man 3: NO, NO, THOSE PRESS

ARE INVITED, YOU ARE NOT.

>> Man 1: RIGHT, THEY'RE INVITED

GUESTS. >> Woman: SO EVEN THOUGH

THE MAYOR'S OFFICE SAID IT WAS

OPEN TO THE PRESS AND THAT

WE COULD COME...

>> Man 1: YOU'RE NOT INVITED.

PLEASE STEP OUT OF THE PRESS.

PLEASE STEP OUT.

>> PEOPLE IN MUSEUMS IN

NEW YORK, IN SAN FRANCISCO,

IN CHICAGO AND DALLAS AND OTHER

PLACES, DIDN'T SAY A GODDAMN

WORD WHILE ALL THIS WAS GOING

ON-- I THINK THEY WERE SCARED.

THEY WERE FRIGHTENED OF THESE

FOUNDATIONS WHO ARE BENEVOLENT

AND GIVE GREAT SUMS OF MONEY

TO ALL KINDS OF CAUSES.

SOME OF THEM HAVE SUPPORTED

THE NAACP.

AND I'VE OFTEN WONDERED IF I'M

NOT ENDANGERING MY ORGANIZATION

BY COMPLAINING ABOUT THEIR

BAD BEHAVIOR IN THIS CASE.

>> YOU KNOW, I'M AFRAID.

I REALIZE I'M PUTTING SOME PART

OF MY LIFE AND MY LIVELIHOOD

AT RISK BY DOING THIS.

I DON'T KNOW HOW THEY WOULD

COME AFTER ME, BUT IF THEY

WANTED TO, YOU KNOW, THEY CAN

MAKE ANYBODY'S LIFE DIFFICULT

THAT THEY WANT TO.

>> THE FORCES THAT, IN EFFECT,

ARE KEEPING THE BARNES HOSTAGE

ARE ALMOST OVERWHELMING.

YOU COULD ASK THE SIMPLE

QUESTION, "WHO SPEAKS FOR THE

ART OR THE LEGACY OF DR. BARNES

WHEN SO MANY POWERFUL POLITICAL

AND ECONOMIC FORCES ARE AT WORK

AND ECONOMIC FORCES ARE AT WORK AGAINST IT?"

AGAINST IT?"

>> [CLEARS THROAT]

[IGNITION STARTS]

[♪...]

>> Raymond: YEAH, IT'S

A BIG DAY.

TODAY'S ORAL ARGUMENTS,

WHICH MEANS WHAT, WHAT BOTH

SIDES HAVE ALREADY SAID TO THE

JUDGE IN WRITING THEY'RE GONNA

REPEAT, YOU KNOW, IN FRONT

OF HIM...

AND HE'LL DECIDE WHETHER TO

GRANT OUR PETITION AND CONVENE

SOME HEARINGS TO DECIDE WHETHER

THE BARNES FOUNDATION SHOULD

STILL BE PERMITTED TO MOVE

DOWNTOWN, OR HE'LL PRETTY MUCH,

IN ESSENCE, THROW US OUT OF

COURT, AND...

THAT WILL BE BAD NEWS.

>> Gerlach: IT'S ALL IN

STANLEY OTT'S HANDS.

IF STANLEY WANTS TO, WANTS TO

UNDO IT, HE CAN UNDO IT.

HE CAN SAY THAT HE WAS GIVEN A

LOT OF BALONEY THE FIRST TIME

THROUGH AND THE RECORD CAN NOW

BE SET STRAIGHT AND IT DESERVES

TO BE SET STRAIGHT.

AND I THINK HE'S A GOOD ENOUGH

JUDGE TO MAKE THAT DECISION.

WE HAVE AN OBLIGATION TO DO

WHAT DR. BARNES WANTED US TO DO,

AND I THINK THAT'S THE ESSENCE

OF THIS WHOLE THING, THAT NOT

ENOUGH WAS DONE TO FULLY EXPLORE

WHAT CAN BE DONE TO KEEP

THE BARNES WHERE IT IS.

SOME PEOPLE, LIKE THE FRIENDS

OF THE BARNES, AREN'T GONNA

LET THAT HAPPEN, AND HOPEFULLY

THEY'LL BE SUCCESSFUL.

>> Rawson: UNFORTUNATELY, THE

THING HAS GOTTEN TO BE A BIG

POLITICAL FOOTBALL, AND IT NEVER

SHOULD HAVE GOTTEN THERE.

>> IN THAT SENSE, RICHARD

GLANTON WAS ABSOLUTELY RIGHT.

GLANTON SAID, WHEN I ASKED HIM

WHAT IT'S ALL ABOUT, HE SAID,

"IT'S, IT'S ABOUT WHO CONTROLS

FOUR AND A HALF BILLION DOLLARS

WORTH OF ART, AND EVERYTHING

ELSE IS BULLSHIT."

WELL, NO, RICHARD WAS WRONG.

IT'S ABOUT WHO CONTROLS $25

BILLION WORTH OF ART, AND

EVERYTHING ELSE IS BULLSHIT.

EVERYTHING ELSE IS BULLSHIT. [♪...]

[♪...]

[♪...] [BIRDS CHIRPING...]

[BIRDS CHIRPING...]

>> Raymond: WELL, WEDNESDAY

NIGHT I GOT HOME AND THERE WAS

AN E-MAIL ON MY COMPUTER,

THE SUBJECT HEADING THAT JUDGE

OTT HAD ISSUED HIS DECISION.

HE APPARENTLY HAS DECIDED THAT

HE'S NOT GOING TO CONDUCT,

HE'S NOT GOING TO INVESTIGATE

ANY OF THE...

ANY OF THE MATTERS THAT

OUR PETITION BROUGHT TO

THE COURT'S ATTENTION.

HE HAD DECLINED TO ORDER NEW

HEARINGS BY DECLARING THAT NONE

OF THE PETITIONERS, THAT IS, THE

FRIENDS OF THE BARNES FOUNDATION

AND MONTGOMERY COUNTY,

HAD STANDING TO INTERVENE

IN THE MATTER.

[♪...]

[♪...] [DRILL WHIRS]

[DRILL WHIRS]

I DON'T THINK THAT THE JUDGE

OR THE TRUSTEES OF THE BARNES

FOUNDATION OR ANYBODY WHO'S

SUPPORTING THE MOVE... WHO

SINCERELY SUPPORTS THE MOVE OF

THE GALLERY ART TO DOWNTOWN,

THAT THEY UNDERSTAND WHAT IT IS

THAT THEY'RE DOING.

IT'LL BE A TRAGEDY, AND IT'LL BE

A TRAGEDY LONG REMEMBERED.

THIS IS NOT SOME MINOR THING.

IT'S NOT OFTEN IN LIFE YOU GET

TO REALLY TRY HARD FOR SOMETHING

YOU DEEPLY BELIEVE IN, AND I'VE

GOTTEN A CHANCE TO DO THAT.

I WOULD'VE MUCH RATHER BE

CELEBRATING THIS THAN...

WHATEVER THE OPPOSITE OF

CELEBRATING IS-- MOURNING.

CELEBRATING IS-- MOURNING. [♪...]

[♪...]

>> Anderson: SO THE CITY GETS

ITS TOURIST VENUE.

THE GOVERNOR DOES TOO.

THE GOVERNOR MAKES HIS FRIENDS

AT PEW HAPPY.

PEW GETS TO CONTROL THE ART.

GERRY LENFEST OF THE LENFEST

FOUNDATION IS CHAIRMAN

OF THE MUSEUM.

THE MUSEUM FINALLY, IN EFFECT,

GETS THE ART.

IT'S VIRTUALLY AN APPENDAGE.

AND ANNENBERG PEOPLE GET

WALTER AND LEONORE'S... DREAM.

AND IF IT'S NOT THE DESTRUCTION

OF THE BARNES FOUNDATION,

WHAT IS IT?

[♪...]

>> SORT OF EXPECT THAT THERE

WILL BE AN ANNENBERG AND A

LENFEST AND A PEW WING OF

THIS NEW BARNES BUILDING, AND AT

SOME POINT BARNES WILL SOMEHOW

BE, LIKE I SAID, YOU GET, YOU'LL

PROBABLY GET A SWEATSHIRT OR

SOMETHING WITH HIS NAME ON IT,

BUT THAT'LL BE ABOUT IT.

BUT THAT'LL BE ABOUT IT. [♪...]

[♪...]

>> MAYBE THAT'S A WAY OF HAVING

PHILADELPHIA COME BACK TO THE

FOREFRONT AND BE ONE OF THE

LEADING CITIES.

IT'LL BE THE LEADER IN SHOWING

PEOPLE HOW TO BREAK TRUSTS

AND HOW TO BREAK, HOW TO BREAK

TRUSTS WITH THE PUBLIC,

YOU KNOW.

MAYBE THAT'S A GOOD NEW ROLE

FOR PHILADELPHIA.

THEY CAN HAVE, YOU KNOW, RING

A SPECIAL LIBERTY BELL FOR IT.

A SPECIAL LIBERTY BELL FOR IT. [♪...]

[♪...]

>> AND I THINK NOT ONLY WILL

BARNES BE VIOLATED BY HAVING IT

MOVED, HE'LL BE VIOLATED IN THE

EXPERIENCE HE WANTED YOU TO

HAVE, AND THAT'S IMPORTANT

BECAUSE IT WAS HIS ART,

IT BELONGED TO HIM.

HE HAD THE RIGHT TO DO WITH IT

AS HE CHOSE.

AND THESE PEOPLE, THESE VANDALS,

STEPPED IN AND TOOK IT AWAY

FROM HIM.

FROM HIM. [♪...]

[♪...]

>> THESE ARE NOT PEOPLE WHO

ARE CONCERNED ABOUT THE ART.

THESE ARE PEOPLE WHO ARE

CONCERNED ABOUT MONEY AND POWER.

AND WHO WOULD DESTROY WHAT IS...

A PERFECT JEWEL BOX...

AND ALSO A KIND OF, UM...

A LIVING PIECE OF HISTORY.

YOU KNOW, TO WALK INTO THE

BARNES IS TO SEE THE ART AS

BARNES, FOR ALL OF HIS GREATNESS

AND ALL OF HIS FOIBLES, HAD IT,

AND IT IS, IN ITS WAY...

PERFECTION.

[♪...]

MATISSE SAID IT WAS THE ONLY

SANE PLACE TO SEE ART IN

AMERICA.

I'LL WAGER MATISSE AGAINST

BERNIE WATSON AND REBECCA RIMEL

ANY DAY... AND I'LL BET

DR. BARNES WOULD TOO.

I THINK HE MIGHT SAY,

"LET MATISSE SPEAK FOR ME."

"LET MATISSE SPEAK FOR ME." [♪...]

[♪...]

[♪...] [♪...]