Word: artes
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Dates: during 1930-1939
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...about Sportsman Widener are that his Lynnewood Hall contains the choicest private collection of Old Masters in the U. S., that he himself is a cultural servant of Philadelphia. In that capacity last week 64-year-old "Joe" Widener became the centre of one of the best comedies of art controversy in years...
...about 15 years Mr. Widener has been administrator of Philadelphia's Wil-stach Fund, income from which must be used to buy paintings for the city's Pennsylvania Museum of Art. With the seven-year accrual of $160,000 in his drawing account and his usual pearl-grey fedora on his head, Turfman Widener set out for Europe last year to scout for bargains. "I am not sympathetic with modern art," said Mr. Widener blandly. "What I think we should do is acquire the classics-those paintings which have lived through the centuries." Uppermost in Mr. Widener...
Fortnight ago Joseph Widener had his little joke. He announced that the large canvas which he had conveyed in great secrecy from Paris last spring was no Boucher but a painting by Paul Cézanne which has been regarded as one of the great masterpieces of modern art, Les Grandes Baigneuses, the longest-meditated of Cézanne's numerous studies of nude figures against landscape. Its title, The Big Bathers, distinguishing it from others in the Bathers series, refers to the size of the canvas: 6 ft. 10 in. by 8 ft. 3 in. It was acquired...
...Lynnewood Hall for a look at his renowned Van Dycks, his Raphael Room, his magnificent Rembrandts. Upon these scenes of public congratulation and goodwill there dropped last week a large and sputtering bomb. It was tossed from nearby Merion, Pa., by one of the master bomb-throwers of the art world, none other than the terrible-tem-pered Dr. Albert Coombs Barnes, millionaire inventor of Argyrol and owner of the finest private collection of modern French paintings in the U. S. Dr. Barnes was incensed by the Museum's statement that "a second version, and a slightly smaller picture...
...years. ... Its former owner, in the presence of witnesses, offered to sell the picture to me for $80,000. . . . The painting's presence in Philadelphia represents not the intelligence and cultural levels of the general population, but the evil of having an absentee dictator of the local official art situation, who functions principally at the racetracks of Miami, Saratoga and Deauville...