“The Art of the Steal.” I read this By ConstanceRosenblum of The New York Times
BARNES, the museum of late-19th- and early-20th-century art tucked away in the suburbs
Let me tell you after realizing what the $ can do in court a WILL is not safe.
His art work was valued at $ 25 BILLION This is a true story, and the same Judge and people could do it to you. All your wishes up in smoke.
READ ON:::: Albert C. Barnes, founder of the Barnes Foundation in Merion, Pa.
A 37-year-old documentary filmmaker, Mr. Argottattended the Art Institute of Philadelphia and has lived in the city for 13 years, he didn’t understand the passion that surrounded this highly peculiar Barnes Foundation, the subject of his latest film, “The Art of the Steal.” “Certain people have deep feelings about the Barnes,” Mr. Argott said the other day over tea at the Morgan Library & Museum in New York, his long curly hair and dark glasses noticeable among the suits populating the cafe. “I didn’t understand. I’d never been there.”That feeling evaporated the moment he set foot in the galleries that housed the Barnes collection, a trove that included 181 Renoirs, 69 Cézannes, 59 Matisses and 46 Picassos, along with countless other items of visual art, ranging from metalwork to Medieval manuscripts to African sculpture. “I was overwhelmed,” Mr. Argott admitted. “For one thing, I hadn’t had any idea how big the place was. I almost welled up. I’m not sure why. I just suddenly understood how special it was.” The museum came to Mr. Argott’s attention through a former Barnes student named Lenny Feinberg — “real estate investor, mountaineer and wine drinker” as the film’s program notes describe him. Mr. Feinberg was the driving force and financial angel behind “The Art of the Steal,”
The eroding of clause after clause of Barnes’s will. We were trying to tell a compelling story, using all the tools at our disposal,” Mr. Argott said. “We didn’t want to make a boring talking-heads documentary. We wanted to make a work that would resonate with audiences, and these are the kinds of works that do.” And the emphasis on the will, a leitmotif of the film? “We’re trying to be storytellers, telling the story through characters,” Mr. Argott said. “Whether or not you agree with the will, it represents Barnes’s point of view, and it’s our script for how he thought.” Predictably, the film provoked what an arts blog described as “big fireworks” when it was shown last fall at the New York Film Festival. “Such a lively debate,” Mr. Argott said happily, describing the question-and-answer session that followed the screening. “People were yelling, screaming at each other. These issues bring out these emotions. I’m not sure why. But for some reason the Barnes stirs something up in people.” Indeed. “Barnes’s opinions about art were dogmatic, and the acolytes he attracted were equally and possibly more rigid,” said Maggie Lidz, the estate historian at the Winterthur Museum near Wilmington, Del., another institution whose collection was amassed in the early 20th century. “Anyone trying to understand the history of the Barnes institution is presented with opposing and irreconcilable viewpoints, ” Ms. Lidz added. “Everyone seems to insist that their stance is the only moral one. But the problems that beset the Barnes have never been black and white. Polarization is as much a part of Barnes’s legacy as the paintings.” Some members of the museum world who have seen the film have also taken sharp issue with many of Mr. Argott’s conclusions and with the style in which they are presented. “The film obviously had a message that didn’t reflect the complexities of the issues,” said Linda Eaton, director of collections at Winterthur. “Even if you agree with their conclusions, that the Barnes should stay where it is, this work is a polemic that’s structured to get people riled up, to get them excited and angry.” “There are valid arguments to be made for moving the collection to a place where more people can see it,” Ms. Eaton added. “And as for the question of whether Barnes’s will should be broken, is a will necessarily the most sacred document in the world? “Changing the will is a legal issue. But changing the institution is a very different issue. Institutions can’t become fossils if they want to survive.” And the reaction of the Barnes? “The film was full of unsubstantiated allegations and very one-sided,” said Derek Gillman, the foundation’s president and executive director, who saw “The Art of the Steal” in Toronto. “It was made by people who were hostile to the move and very angry about it. That’s why we didn’t cooperate with the filmmakers. It was not in our interests to do so.”
Now take some time and see this film if you love art and the legal system. It scared me and made me so mad. Yvonne
Yvonne started painting and drawing in High School in Houston Texas. She earned extra money drawing insects in science class for classmates.
Yvonne's mother encouraged her to attend art classes at the Art Museum in Houston in the 1960's.
After her marriage she moved to Miami Beach, while living on Palm Island she continued her education in art, and Design. Also studied with notable artist from the area.
Yvonne was painted by friend Florence Taylor Kushner, from Boston and in women's Who's Who. Florence painted many famous families. Yvonne was lucky enough to receive private tutoring from her.
In the 1970's she went to Interior Design School .
Years later she started her own Interior Design firm named 'Chez Moi Interior's.
Yvonne continued painting and showing her work at Beau Arts in Ft. Lauderdale, Florida. Also she exibhited her work in North Carolina, the Florida Keys, and at the Childers Art Gallery on Las Olas Blvd (Ft. Lauderdale).
Yvonne won the prestigious 'Hortt Art Competition Award' at the Museum of Ft.Lauderdale, Florida. This work of art remained on display for several months at the Museum. Over the years Yvonne has entered many competitions winning countless blue ribbons.
A trip to Paris, and a stay in Monmarte where she spent time with a few choice artist's changed her views toward her own art work.
Art is truly an expession of experience and love to her.
She likes her work to show a moment in time or tell a story.
To know more about Yvonne Leyden and her work contact her at: