The foundation was first taken to court by a reporter from the Philadelphia Inquirer (a newspaper owned by fellow art collector Walter Annenberg) and Art News, but it was a suit by the state of Pennsylvania that eventually forced a change in the foundation’s admission policy. Anyone can now visit, but because The Barnes Foundation continued to function as an educational institution rather than a museum, it was only open to the public a few days a week. Large numbers of visitors flocked to see the collection on those days, and not long after this change was made, the foundation found itself in court again, this time fighting neighborhood activists who were successful in limiting the number of visitors and cars that are acceptable.

The low admission fees, a rapidly deteriorating building and increasing conservation and security costs forced the foundation to request that the court make an exception to Barnes’ will and allow paintings from the collection to leave the building. After years of deliberation, permission was eventually granted. In 1993, the museum tour, titled "Great French Paintings from the Barnes Collection: Impressionist, Post-Impressionist and Early Modern" facilitated much-needed repairs to the building. In 2004, when it became apparent that the foundation was again on the verge of financial collapse, a Pennsylvania judge allowed an amendment that will allow the artwork to move to a location that would be able to accommodate more visitors.
 
This past summer, realizing that they are now losing the Barnes, the neighborhood group increased the number of visitors it will allow. The foundation, however, maintains that the increased revenue would still not be enough and is proceeding with plans for the move.

A new site near the Philadelphia Museum of Art has been secured, and this autumn the foundation selected Tod Williams and Billie Tsien of New York to design the new facility, which they anticipate will open at the end of 2009.

Legally, the new location must replicate the gallery layout and re-hang each piece as it is currently displayed in the foundation. With the facility’s added educational spaces and better lighting, the new building could allow enhanced views of the collection’s most celebrated masterpieces, such as "The Dance" (1932) by Matisse and "The Card Players" (1890–92) by Cézanne.

Yet any new construction and embellishments will lack the patina of age and the feeling of history that permeates the existing space. Romantics who would like to experience the country manor-like ambience and avoid the crowds at the foundation, should head to Merion sooner rather than later.
 
Art&Antiques correspondent Rebecca Dimling Cochran is an independent curator and critic.

Barnes Collection
610.667.0290 barnesfoundation.org