94 counseling him on strategies for selling and emphasizing the importance of the Barnes Foundation in establishing a market for African art.20 After a falling out with the dealer that ultimately severed their relationship, Barnes would remind Guillaume: “The truth about my collection of Negro sculpture is that you never chose one piece of it for me. I selected it, and on my own judgment.”21 African Art and the Educational Mission of the Barnes Foundation While Barnes was honing his eye and selectively acquiring African sculpture, he was also focused on developing plans for an educational institution to house his collection. Indeed, the foundation’s original mission, developed in 1922, was “the promotion of the advancement of education and the appreciation of the fi ne arts.” Barnes’ forward-thinking vision for what would become the Barnes Foundation—fi rst outlined on a scrap of stationery from the Plaza Hotel in April 1922—may have motivated his purposeful collecting of African sculpture just three months later.22 Certainly, by the fall of 1922, he was quite clear about his intent to include African art in the future foundation, which was formally chartered that December.23 Indeed, Barnes emphasized African sculpture in his overall collecting, despite increasing expenses associated with the creation of new buildings for his new foundation. He assured Guillaume that he would “have enough cash” for acquisition priorities, including works by Picasso and Matisse, and also “to make my collection of Negro sculpture more complete.”24 themed US collections—most notably those of John Quinn and Walter and Louise Arensberg—he would have been aware of the growing presence of African sculpture in and around New York City. It’s quite likely he visited the 1918 exhibition, African Negro Sculpture, organized by Marius de Zayas for his Modern Gallery in New York. Certainly, Barnes must have seen the limitededition portfolio of African art that de Zayas produced that year with photographer Charles Sheeler (who also published an album featuring works in Quinn’s collection). 16 Closer to home, Barnes would have had the opportunity to view an exhibition of African art at the University of Pennsylvania Museum in 1918, organized by Charles Sheeler.17 Barnes’ ambitions and standards as a collector extended equally across his fi elds of interest. He was as rigorous and discerning in his acquisition of African art as he was of European painting. Although some might assume that his collection refl ects Guillaume’s tastes and preferences, it is clear that Barnes played the dominant role in its development.18 Even from the fi rst, Barnes exhibited confi dence in his selection of African works and only rarely solicited Guillaume’s opinion.19 In a remarkably short time, Barnes clearly saw himself less as a patron and more as Guillaume’s advisor, not only in matters of aesthetics but also in commercial dealings, FIG. 10 (left): Photograph of Mukudj mask (fi g. 11) by Man Ray, 1921. Inscribed by Paul Guillaume to Laura Leggett Barnes, wife of Albert Barnes. FIG. 11 (below): Mukudj mask. Punu, Gabon. 19th–early 20th century. Wood, kaolin, pigment. H: 31.8 cm. The Barnes Foundation, A282. Photo: Rick Echelmeyer, © 2015 The Barnes Foundation. FIG. 12 (right): Headline in Philadelphia’s Public Ledger, February 5, 1923, announcing African art at the Barnes Foundation. Photograph Collection, Barnes Foundation Archives. Photo © Barnes Foundation Archives.
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