Dr. Albert Barnes pulled himself out of poverty at a young age, eventually becoming a pharmaceutical tycoon and snapping up art treasures during Depression fire sales. At the end of his combative life, Barnes, who changed his will to match his mercurial moods, left the collection not to his alma mater, the University of Pennsylvania, but to Lincoln University, a once-acclaimed African-American institution that had produced graduates such as Langston Hughes before seeing its reputation and enrollment decline. Located in the Main Line suburb of Philadelphia, the collection is currently worth more than $6 billion and contains masterworks by Picasso, Renoir and Matisse. A deputy editor of American Lawyer
magazine, Anderson turns his keen eye to the struggle for power over the collection that has been waged since Barnes's death in 1951. At the center of the conflict is lawyer Richard Glanton, who as president of the Barnes during the 1990s launched a costly lawsuit alleging racial discrimination against the township that houses the collection, put paintings from the collection on tour despite Barnes's "no tour" clause to his gift and pondered the once unthinkable tactic of selling paintings from the collection to raise additional funds. Glanton's one-time ally in behind-the-scenes power plays, Lincoln University president Niara Sudarkasa, found herself helming an institution unprepared for the responsibilities of the collection and was later embroiled in her own legal troubles stemming from spending practices at the university. Through detailed storytelling and insightful interviews with key players (shown in 16 pages of b&w photos), Anderson vividly depicts the downfall of now-enemies Glanton and Sudarkasa and the devastating financial impact of their power struggles on the foundation itself. Anyone interested in the intersection of art, race and power politics will find this tale engrossing—and depressing. East Coast author tour. (May)
